








LIBRARY OF CONGRESS 


UNITED STATES OF AMERICA 



























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THE GREAT SECRET 

/ 

OF 

Shadow Pantomimes; 

OB, 

Jp ark quin in ifrt jSjrafrts. 

HOW TO GET THEM DP ani HOW TO ACT THEM. 


With Full and Concise Instructions, and Numerous Illustrations. 



By TONY DENIER,, 

i 

The Celebrated Comic Pantomimist, 

Author of “Tony Denieb’s Pareoe Pantomimes,” “ Amateub’s Guide,” &o. 


' X\v ' /a: 

..... - - - i ■ ii.i —r 

* f £' . ‘ n m<‘ i j j UVG * 

* i * _ 

NEW YORK: 


O. .A.. ROORBACH, IPm.'blish.er, 
102 NASSAU STREET. 




\ •• 

7NL/Z0 * 

.Ss'J14- • 






Entered according to Act of Congress, in the year,1868, by 
O. A. KOOBBACH, 

In the Clerk’s Office of the District Court of the United States for the Southern 

District of New York. 


* 


IE'TEODUOTIOIsr. 


# 



Some fifty or sixty years ago, a Frenchman, one Monsieur Lunardi, 
arrived in London, ■with the laudable intention of “.astonishing the 
natives," and attempting to better his worldly means and obtain 
a little of “Mi lor Anglais ’ ’ substance , in exchange for a sight at 
some novel French shadows. The bait took, the thing was well man¬ 
aged and became a great success ; and the whole population were in 
a furore to know “ how it was done." The representations first took 
place at the Old Lyceum, or English Opera House, as it was then 
termed, and which place was in general request for the exhibition of 
























































































IV 


INTRODUCTION. 


any and every thing pertaining to the marvelous. Here in 1803 and 
1804 one Winsor exhibited and explained his propositions to light 
the public streets with gas ; but as Winsor’s statements wereconsid- 
ered at “that” time extravagant and Baron-Munchausenish, Winsor 
did not win sir many converts to his scheme ; and although an en¬ 
larged experiment was made by lighting up a portion of Pall Mall^ 
and the colonnade in front of Carlton Palace, it did not meet with 
favor, and the project was abandoned. The practice of gas lighting 
did not come into operation till the year 1813, when the first char¬ 
tered gas company erected their works in Peter street, Westminster, 
London, and enlightened the darkness of the inhabitants of one of 
the leading cities of the world, which has been improved upon and 
increased from time to time, until, at the present day, the principal 
streets and crowded thoroughfares of all large cities are occasionally, 
as the play bills say, “ an unparalleled blaze of refulgent light.” 

But to return to the shadows, which, as we have before intimated, 
were first exhibited at the Old Lyceum, and as the modus operandi and 
manner of carrying it out was entirely in the heads, hands, and 
heels of the Frenchman’s own family, and as all strangers were rigid¬ 
ly excluded from being “behind the scenes,” the secret was safely 
kept, and public excitement and curiosity consequently greatly in¬ 
creased. Monsieur realized a very handsome sum of money, and 
with this increased his substance , but it would appear that he was less 
careful of his shadows; for, on the exhibition being removed to OM 
Yauxhall Gardens, London, as the saying is, “the cat got out of the 
bag,” and it was soon found out that the whole sum and substance of 
the wonderful illusion, ll Les Ombres ChinoisHarlequin in the Shades , or 
the ‘ ‘ Man in the Moon ” as he termed his performance, was and is 
nothing more than a clever adaptation of a very simple law in op¬ 
tics ; so if any of our readers wish to amuse themselves and families, 
and astonish their friends, they will, with the assistance of the vari¬ 
ous sketches and diagrams contained in this book, be able to accom¬ 
plish the same to the satisfaction of all the company present. 

Now then for the shadows. After a stage, or school-room platform, 
the next best adapted place for these performances is a drawing-room 
or parlor, where there are folding-doors, against the opening of 
which, on a common wooden frame [See Figure 1] tack up or fas¬ 
ten taut and tight a wet sheet or muslin cloth the size required, 
immersed before tacking up in a tub of water, and then well wrung 
out. Then have ready a light in a pan. This is arranged by having 


INTRODUCTION. 


V 



a small tin oup made, about the size of a breakfast cup, to the bot¬ 
tom of which, inside, must be soldered a piece of twisted wire [See 
Figure 2] to hold some cotton to serve for a wick ; round this must 
be placed some tallow (that cut from candles is 
best) or fat, which must be pressed down close 
all around, leaving about a quarter of an inch or 
so of the cotton sticking up, on lighting the top 
of which it will burn on, gradually melting the 
fat until it becomes the burning center of a hot 
Fig- 2. p an 0 f f a t. An earthenware pan or bowl should 

be filled up to about one inch of the top with sand, on or in 
which the fat cup should be placed. [See Fig. 3.] This is a very 
necessary precaution, as, should the lamp get by any means upset, 
the hot oil and grease would be absorbed by the sand, and save the 
floor and carpet of the room. (The Lighting apparatus described 
above can be purchased complete by applying to 0. A. Roorbach, 
102 Nassau St., New York.) 

Having all these things in readiness, 
viz.: the fat pan well lighted, the sheet 
tightly strained to the opening of the 
doors, and the company of spectators 
being seated on one side of the wet cloth, 
on the other side of the same the perform¬ 
ance is to occur, and the light is to be 
placed on the floor, about four or five 



Fig 3. 


feet frcm the center of the cloth ; all the other lights must be put out, 
and the actors ready to carry out the directions that are given to per¬ 
form such pantomime or sketch as they may have selected, the effect of 
which will be much increased if some kind, obliging sister or cousin 
will play a series of lively tunes on the piano, to add “ music to the 
mirth,” and keep the game alive. All who are not engaged in the 
) actual performance should be particular and keep the light between 
them and the doth, and in going on should go close back of the light 
and jump over it sideways. This, to the audience, will have the ap¬ 
pearance of his having dropped from the ceiling, and when he has 
finished his part and wishes to exit, he must jump back, sideways, 
over the light, and he will appear to those in front to have gone up 
through the ceiling. If you wish to do it well, care should be taken 
to invariably jump over the light sideways, steadily and neatly—no 
hurrying or carelessness, or knocking against the light—and to stand 





VI • • INTRODUCTION. 

• 

and go through the business and pantomime as much as possible 
sideways or in profile. In using chairs or tables, they should be 
placed as close as possible to the wet cloth, without causing the per¬ 
son sitting down or working in front of them, to rub or bulge 
against the said wet sheet. Arrange everything you have to do be¬ 
forehand by rehearsing, and so avoid all confusion and the least pos¬ 
sible chance of failure. With the foregoing general directions and 
explanations, we will submit the outlines and substances of some 
shadow performances, which can be rendered very amusing and com¬ 
ical if done with neatness and precision, and never fail to be re¬ 
ceived with astonishment and laughter. 

Kespectfully submitted for your approval by the 
Public’s Obedient Servant, 


March , 1868. 


Tony Denier. 


SHADOW PANTOMIMES 


SHADOW BUFF; OR, WHO’S WHO? 

The only properties required in this comical, optical, guessical, 
quizzical, substantial extravaganza, called “Shadow Buff ; or, Who's 
Who ? ” (being a funny dodge for an evening’s entertainment) is the 
•wet sheet and the light. N. B. In “Shadow Buff” all the little 
Buffers and Bufferesses, from four to fourteen, can take part, to the 
delight of their friends, and themselves in particular. To play the 
game proceed as follows : As many pieces of paper must be cut as 
there are persons to play—say ten—and on one of the pieces of paper 
must be marked, “ the guesser.” The papers are now placed in a 
hat or bag, and shaken up ; then each person is to draw one, and 
the drawer of ‘ ‘ the guesser ’ ’ must take his or her place on the 
audience side of the wet cloth or screen, (while the others go to the 
hack) and as each of the shadows of the others come in view, either 
by jumping over the light or coming from the side, endeavor to 
guess their names, they remaining long enough for “ the guesser” 
to make three guesses at the name, and if not guessed right on the 
third the shadow to disappear and another take its place. If the 
persons are nearly of one height, and no great peculiarity of 
dress occurs, some difficulty will be found in always guessing “Who’s 
who?” 

Note.— If any ladies are to take part in this, or any other panto¬ 
mime, the stage manager or director of the entertainment should be 
particular in making all to come on from the sides—no jumping 
over the Jight in this for ladies, young or old, so that no accident 
from a dress catching fire can possibly take place. Also if the ladies 
put on different hats or bonnets than those they are in the habit of 
wearing, or exchanging with one another, and the gentlemen exchange 
hats, coats, &c., or ruffle up their hair, or put something under their 
coats up near the shoulders, to make them have the appearance of 
being humpbacked, or stand nearer the light, which will make 
them look taller, or screw their faces up so their shadow will look 
different, or do anything that fun may suggest to alter their appear¬ 
ance, it will be much more difficult for the guesser to guess their 
names. They must come separately, one by one before the light, 
and if the guesser guesses any one’s name rightly, he or she must 
take the guesser’s place, and the guesser go to make one of the sha¬ 
dows, and so on, as in the old game of Blind Man’s Buff. 



8 SHADOW PANTOMIMES. 

THE DENTIST; OR, TOOTH-DRAWING EXTRAORDINARY 


The properties needed for this laughable sketch are very easily 
gotten up, and consist of a profile tooth, a lancet, a pair of pincers, 
a false nose, a handkerchief, and a chair. 

This is commenced by Actor No. 1 jumping over the light and 
expressing in, pantomime by putting his hands to his jaws and 
month, what a dreadful bad toothache he has got, and by stamping 
with his feet on the floor, calling for the doctor; then let Actor No. 1 
(the doctor) appear, by jumping over the light, and taking the 
sufferer by the chin and nose, wrench open his mouth to have a 
good look in ; then take a handkerchief and tie up the patient’s 
jaw, giving him now and then some good taps on the top of his 
head ; then leaving the toothache subject to moan, groan, and twist 
his head and body about, let Actor No. 2 jump back over the light, 
and then again jump forward over the light with a chair. Let him 
take hold of the patient, or Actor No. 1, and put him in the chair ; 
then untie the handkerchief that ties up the jaw, and go thiough 
any kind of rough, comic examination that tact and fun may 
suggest—always bearing in mind to have “method 
in his madness.’’ If the person who takes the 
part of the doctor finds himself equal to the 
task he can introduce a little quiet “ patter,” ^as 
the professionals call it, by saying as he examines 
the patient’s mouth : “ Oh, ah, a dreadful case, 
my son, an awful bad tooth ; one of your grinders ; a 
regular double-pronged molar—no cure whatever 
for it, twenty bottles of my wonderful and extraor¬ 
dinary ‘ Diopporeticum Bezoyardicum,” or my most 
astonishing cure all, the renowned ‘Lypapeodestiction- 
sorewarmer,’ would not cure it. It must come out and 
no mistake; so, here John,bring me my No. 1 lancet.” 
John, the assistant, (a thin tall person, if there is 
one among the company) now jumps over the light 
and presents the doctor with the lancet. [See Fig. 4] 
The doctor then says, “ Now, John, lay hold of his 
head, while I lance his gums, previous to the draw¬ 
ing.” Then he takes the wooden lancet, and rolling 
up his sleeves, gives it two or three flourishes, and 
a grotesque sharpening or edging upon the hand, as 
barbers do their razors. Then, with the assistance 
of John, who holds the patient’s head back, just in¬ 
sert the lancet in the mouth of the patient, and ap¬ 
pear to lance and cut the gums. Then say, “ Now, 
John, for the small patent plyers, or the new atmospheric extract¬ 
ors.” John says, “Yes, sir,” and jumps over the light, and in- 
sfantlv returns with the plyers, [See Fig. 5] which are simply two 
sticks of thin wood, screwed with one screw, so that they will 
open like a pair of scissors—the sticks of wood to be about three 
feet long, and one inch and a half wide—and when inserting them in 



SHADOW PANTOMIMES. 


9 


the patient’s month, stand off at arm’s length, while John fastens 
to the edge of the pincers, by a small loop, a large profile tooth, 
(a solid one is better if it can be made) made of pasteboard or 
thin wood. [See Fig. 6] This he can easily do as he is “ pattering ” 
about the patient’s .head during the operation. The profile tooth, 
which is at first concealed by the assistant 
in the folds of his dress, can, during the 
fun and struggle at the extricating, be 
masked by the hands of the patient and 
assistant, when at last with a jerk, out it 
comes, to all appearance, from the patient’s 
mouth ; when up he jumps, quite overjoyed, 
waves his handkerchief over 
his head, knocks the doctor 
and his man down and jumps 
over the light, the doctor in 
a fit of desperation seizes his 
man by the nose with the 
pincers, and in the struggle 
the nose drops off, when the 
doctor in terror jumps over 
the light and exits. The as¬ 
sistant gets up, rubs his nose, 
looks up to the ceiling, then 
seizing the chair, jumps over 
the light. 

Fig. 5. Fig. 6. 




AMPUTATION LIKE WINKING; OR, THE MARVELOUS 

REVIVER. 

As ACTED BY Dr. DRENCH AND HIS Men IN THE MOON. 

Properties .—A light wooden table, a profile knife, a profile saw, a 
cup, a bottle, a gallev-pot, and a profile arm. (The knife, saw, bot¬ 
tle, galley-pot and arm are to be cut out of stiff pasteboard or mill- 
board). * 

In this entertainment, the frame on which the wet cloth is stretched 
should have a piece of pasteboard or stiff brown paper fastened at 
each corner. They should be cut so as to give (when put on the 
frame) the appearance of a circle or moon. 

To enact this scene, the one who personates the character of the 
patient must have his genuine arm (the right will be the best, fas¬ 
tened to his side, so that no involuntary movement may betray it; 
then to his shoulder must be lightly attached a pasteboard arm. [See 
Fig. 7.] When he jumps over the light, he should pace once or twice 




10 


SHADOW PANTOMIMES. 


backward and forward across close to the sheet, being 
very careful not to touch the same ; and give in pan¬ 
tomimic action, groaning, &c., the appearance of great 
pain ; then the doctor’s man, John, should jump over 
the light with a chair, and by force seat the patient 
in it, and say, “ Patience, my dear sir : my master, 
the great Doctor Drench, will be here in the twinkling 
of a galley-pot.” The doctor should now jump over 
the light, and examining the patient very roughly, 
exclaim, ‘-Oh, dear, John, what’s all this? a fracture ! 
a flaw ! a broken arm ! Dear me, dear me, poor fel¬ 
low, his right Osboxtherumgrubberumlift is severely 
damaged and broken.” Then, taking the pasteboard 
arm, lift it up and down to show its broken and frac¬ 
tured condition, saying all the time he is doing so, 

“ Dear me. bad case—difficult job. I plainly see I 
must use the saw. Now, John, quick, bring the table, 
and get the porter to help you, as we shall want him to help to hold 
the patient. John says, “ Yes, sir,” and jumps over the light, and 
instantly returns with the porter, and carrying the table. This must 
be neatly and adi'oitly managed to have good effect. The table must 
be placed as near as possible to'the light at the back, and the two 
characters, John and the porter, lay hold each of one end, jump re¬ 
gularly and together over the light, to give the proper effect. It 
ought to be a very light, small pine table, made for the purpose. 
[See Fig. 8.] When the table is over, the doctor should still go on 




with his orders and directions, and keep the scene up by talking to 
the patient and ordering the assistants about, as, “ Dear me, my 
man. how do you feel now ?” and at this the patient should moan and 
groan, and throw up his legs as if in agony ; then the doctor should 
take him by the leg, and say, “Ah ! oh ! my man, you have had 
some money left you lately,” at which the patient should shake his 
head : “No, no.” Then the doctor, holding up his leg, should say, 
















SHADOW PANTOMIMES. 


11 


“ No, no ! What do you mean by no, no ? when here’s a good leg- 
i-see (legacy).” The doctor still goes on talking— “ Now, John, 
bring the saw, my favorite hackemoffquicK ; and my large knife, 
the two-foot ham carver ; and you, porter, go for the Chioroforum- 
nosecerumsnifferumpainstopperum.” John and the porter now jump 
over the light, and as quickly come back, one with a profile bottle, 
[See Fig. 9,] and the other with the saw and knife, [See Figs 10 and 
11,] the doctor, during this, keeping up the attention of the au¬ 
dience in front, by his by-play, and the patient assisting in the il¬ 
lusion, by grunting, groaning, moaning and kicking up his heels. 
“ My little page, Jim, says that if he attends to these directions 
he'll do very well ; in fact, he will act with his com¬ 
rades in toetoe, and not put his foot in it.” (N. B. 
These are old jokes.] The instruments, the saw, the 
knife, and the bottle should be placed on the table, 
which table should be pushed a good deal to the 
side, and the patient brought as much as possible to 
the center ; then the doctor should commence by 
taking the profile knife, putting it between his teeth, 
and then tucking up his shirt sleeves ; this will give 
quite a manslaughtering aspect to the affair, and have 
a killing effect. (As our Jim says that manslaughter 
Fig. 9. j s the same as man’s-laughter.) John and the por¬ 
ter should also tuck up their sleeves and take their places—one be¬ 
hind the patient, to hold his head ; the other at his side, to hold 
his arm, when, after some by-play by the doctor, of moving the 
patient’s arm up and down, examining the teeth of the saw, and 
sharpening the knife on his hand, he should call for the cloth ; 
this the porter must bring from the table. Then he must call for 
the Chloroforumnosecerumsnifferumpainstopperum. The porter then gets 
the bottle from the table and gives it to him, and he appears to 
pour some of its contents on the cloth, and then pass it back¬ 
ward and forward under the patient’s nose. The parent seems 
to quietly doze off to sleep, and his head falls back, and then 



comes the final operation of taking off the arm, which must be 
done by the assistant holding up the profile arm, and the doctor 
cutting round the same with his knife ; then, taking the profile 
saw, sawing through the bone. While this is being done, if the 
doctor (or any one else very sharp set) can make a noise with his 



12 


SHADOW PANTOMIMES. 



mouth like sawing wood, all would be very well, and the illusion 
improved. If genius of this kind is not discoverable, get some 
one at the side to give the effect with a real saw and a piece of 
wood, which would be much better. Behold, and see the arm is off, 
and held up in triumph, as a proof of the doctor s amputating 
skill. Then he should say “ Now, John, go down into the sur¬ 
gery for a pot of my Reviveremlikewinkin, my instantaneous life-re¬ 
storer.” John jumps over the light for the pot. [See Fig. 12.} 
The doctor still goes on talking : “ This instantaneous composition 
is the greatest invention of the age. It is made from the real 
Egyptian mummy dust, and was invented by a mummer or a 
mummy, who brought himself to life again, after being defunct 
sixteen thousand years. It’s astonishing what it will do, and more 
astonishing still, what it won’t do. I’ll just tell you a story of it 
in connection with a pig’s tail. Farmer Oatstraw had a pig he 
called Porkibus. Now Porkibus was called Porkibus because—be¬ 
cause he wasn’t called 
anything else ; and Por¬ 
kibus, as I have said be¬ 
fore, was a pig with a _. ,, 

curly tail. Oh, I didn’t Rig. 11. 

say it before, didn’t I? of course not. The tail’s behind, isn’t it ? 
of course it is. Very well, then to proceed with it. You must 
know that when Porkibus was very young, he was so frightened 
by a small cross dog, that he became curly-tailed ever after. 
Now, this same curly-tailed pig met with a sad accident ; one day, 
jumping out of his stye to show his style, his tail caught on a. hook, 
while he was hooking it. That hook had escaped his eye, and he 
didn’t see it, and by this sad mischance he chanced to lose his 
much valued curly appendage. Now, three appli¬ 
cations of my valuable reviver and restorer not 
only caused the tail to crop up again, but every 
morning half an ounce of pig-tail hooey was found 
growing to the end of it; in fact, as regards the 
baccy, every morning there were returns of the 
very finest cut, and every month a crop of half- 
a-dozen corkscrews ; but that perhaps you’ll say 
is a corker ; but I really assure you I am draw- 
So much for the pig. Now, iohn, where is the won¬ 
derful ointment ? and now for the patient’s arm, to practice my 
wonderful discovery.” A piece of rag is taken by the doctor, and 
he appears to anoint the top part of the arm and shoulder, the 
fastening at the side of the patient that has secured the arm is 
loosened by the assistant, and the patient gradually works the 
arm out, and waves it aloft in triumph ; when the four charac¬ 
ters, patient, doctor, assistant and the porter perform a grotesque 
dance, and then exit over the light, the patient with the chair, 
the doctor with the saw, knife, bottle and pot, and the two assist¬ 
ants with the table, each taking hold of one end, as when they 
brought it on. 



Rig. 12. 

ing it mild. 


SHADOW PANTOMIMES. 13 

THE HAUNTED HOUSE ; OR, THE FRIGHTENED TRAVELER. 


Properties required. —A sofa without a back, to be placed on one 
side near the curtain, with a sheet spread on it to give it the appear¬ 
ance of a bed. A lot of candles in candlesticks, two policemen’s 
clubs, a gong, a carpet-bag, a valise, some old hats, caps, pants, tin 
plates, basins, &c., some live cats and dogs. A pitchfork, a pail of 
sawdust, a knife and lantern. A mask fastened to the end of a 
stick about four feet long, with a sheet tied round the neck, and to 
hang down over the person playing the ghost. 

This is commenced by the traveler jumping over the light, with a 
carpet-bag in his hand, and he stumbles and falls over on to his 
back—a noise being made by some one outside, as of glass breaking, 
and noise of gong; the same person, with assistants, to stand back of 
the light, and throw the valise, old hats, caps, pantaloons, tin 
plates, basins, &c., over the light on to the traveler, simultaneously 
with his falling. When all the things have fallen on him, he scram¬ 
bles up into a sitting position, and exclaims very innocently, “Am I 
all here ? ” At this the landlady comes on from the side and calls 
out to him, ‘ ‘ Here, sir, what do you mean by breaking through my 
skylight sash ? ” The traveler says, “ I couldn’t help it; I sashayed 
through for a short cut.” The Jandlady says, “Do you know 
you’ve broken every pane of glass in that window.” The traveler 
says,very innocently, “Well, I didn’t take muchpams to do it, did I ?” 
The landlady says, “No, sir, you did not, and you shall be made to 
pay for the damage you have done, and to quit this hotel instantly.” 
Traveler, in astonishment, says, “What! is this a hotel ? why, that 
is just the place I was looking for ; I want a nice quiet room, where 
I will not be disturbed by any noises, such as quarrelsome cats and 
fighting dogs, for I am a very nervous young man, and want peace 
and quiet, and will pay you very liberally for the same, if you can 
accommodate me.” Landlady says, very politely, “If that is the case, 
sir, you can be suited right here ; this is the quietest hotel in the 
town ; there is a comfortable bed, and you can go to sleeji, and I 
will guarantee you will not be disturbed by noises or anything of 
the kind. “ Traveler says, “ Very well, ma’am, I will conclude to 
stop here to-night, so please,call me at eight o’clock in the morning, 
and let me have a nice breakfast.” Landlady says, “Yes, sir, good 
night, sir,” and goes off. Traveler says, “ Good night,” feels the 
bed, and says, “ Now, this looks like a comfortable place ; the last 
place I stopped at I couldnH get a wink of sleep, for dreaming of 
ghosts, and other things, and such horrid noises I never heard be¬ 
fore, but I think I shall be all right here, so I’ll just undress, and 
then to bed, to sleep—as Mrs. Macbeth says in the play. He then 
pulls off his coat, hat, vest, necktie, and is just going to pull off 
his pantaloons, when he says, “I guess I’ll keep these on in case 
of fire.” Then goes and lies down on the sofa, pulls the sheet over 
him, and then goes to sleep ; then a person standing back of the 
light puts his hand over in front of the light, so as the shadow 
of the hand is thrown above the face of the traveler, then work 


14 


SHADOW PANTOMIMES. 





Fig. 13. 


the fingers as if tickling his face, 
and withdraw the hand suddenly as 
the traveler wakes up in bed, slaps 
his face, and tosses his arms about 
and exclaims, “ Bother these mos¬ 
quitoes, they won’t let a body 
sleep,” says, “Shew,” yawns, and 
lies down again. The person back 
of light puts his doubled fist over 
in front of light, and shadow is 
thrown above traveler’s face, and 
punches him in the nose ; another 
party back of light must clap his 
hands just as shadow of fist hits 
traveler’s nose ; the fist is with¬ 
drawn, and traveler wakes up, ex¬ 
claiming, “Oh, my nose !’’ and acts 
as if it hurt him very much, and 
then lies down on his face, and 
sticks his back up by kneeling on 
his knees. Then the person back 
of light holds a pitchfork in front 
of the light, so* as to throw the 
shadow above the traveler’s back, 
and makes it appear as if sticking 
it into the traveler’s back two or 
three- times, and quickly removes 
the pitchfork. The traveler turns 
over on his back and groans very 
loudly, when the person back of 
light empties the pail of sawdust 
in front of light, so as the sha¬ 
dow of it is thrown on or above 
traveler’s head. The traveler sits up 
and motions brushing the sawdust 
off him, and exclaims, “Here, 
landlady ! your roof leaks, and I 
am wet through.” Then lies down 
again, and groans very loudly, 
when tl\e ghost with the sheet, stick 
and mask [See Fig. 13.] jumps over 
the light and walks round, and 
down to the foot of traveler’s bed, 
and bends the stick over him and 
hits him with it and then stoops 
down. The traveler wakes up and 
pushes his hair up, looks very much 
frightened, and the ghost com¬ 
mences to raise up the stick and 
stands up straight, making a very 






























SHADOW PANTOMIMES. 


15 


tall ghost. The traveler struggles to speak and finally exclaims, 
“Oh! oh ! a g-g-g-ghost.” When the ghost immediately jumps 
over the light and disappear. The traveler looks around, and 
feels very much relieved, and is about to lie down again, when the 
person back of light throws over it some cats and dogs, which are 
to be made to run off. Traveler sees them, and exclaims: “Oh, 
my! the* house is haunted,” and pulls the sheet up over his head 
and exposes his feet and lies down to sleep, when a burglar jumps 
over the light, with a lantern and large knife, [See Fig. 10] looks 
cautiously round and goes to traveler’s vest, which he has placed on 
a chair, and takes out the traveler’s watch, a large one with a chain, 
holds it up to show it, and then puts it in his own pocket; then 
goes over to the traveler, and holds up the lantern over him, looks 
at him, and threatens him with the knife, then catches him by the 
legs of his pantaloons and pulls them off, and waves them above 
his head in triumph, and then jumps over the light. (1ST. B. 
The traveler can have another pair of pantaloons underneath, 
but tied at the ankles to look like drawers.) The traveler 
jumps up and exclaims, “Murder! Robbery! Thieves!” jumps 
out of bed and then jumps over the light. The landlady runs in 
from the side with a lighted candle, and with her night-tap on; sees 
the traveler gone, and exclaims: “Here, you sir, come back and 
pay for your lodging,” and jumps over the light in pursuit. Then a 
lot of ladies and gents in their Dight-gowns and night-caps, repre¬ 
senting the disturbed lodgers, and with lighted candles in their 
hands, rush in from both sides in alarm, and exclaiming, “Robbers ! 
Police!” and then jump over the light. Then two policemen 
rush in from the sides and flourish their clubs, then jump over the 
light. This last part must be done very quick, and will be found 
very laughable. 


WE WON’T GO HOME TILL MORNING; OR, RECOLLECTIONS 
OF THE OPERA. 


All the properties required for this sketch, are two pint cham¬ 
pagne bottles filled with water, and with corks that may be easily 
drawn out with the fingers. Two policemen’s clubs, coats, caps, &c. A 
night-cap and dressing-gown, and a large padded club, for the old 
gent. Two large cards, with the names of George and Frank cut out, 
so they will reflect plainly on the sheet. 

This laughable “ Bon Mot” is commenced by two young men 
entering simultaneously from opposite sides, and keeping close to 
the sheet, without touching it, and walking rather unsteadily, as if 
they had been out and enjoyed themselves and indulged rather too 
freely in a very bad habit. As they walk along they knock against 
each other in the center of the sheet, and both stagger back very 
indignantly and commence talking and menacing each other, say- 



16 


SHADOW PANTOMIMES. 


ing, “What do yon mean, sir, by knocking against me in that 
manner?” One of these quarrelsome young gents says, “It was 
your fault, sir.” The other says, “ No, sir, it was not my fault, it 
was your fault.” Number one says, “ Sir, if you doubt my word, 
when I say it was your fault, sir, yon insult me, sir.” Number two 
says, “ No, sir, you insulted me, and I demand the satisfaction 
due a gentleman. There’s my card, sir.” Number one takes it and 
says, “Very well, sir, accept mine.” They exchange cards, and * 
while looking at them hold them up, so the letters will be reflected 
on the sheet, and the audience able to see them. Then number one 
exclaims: “What! George!” Number two exclaims, “What! 
Frank!” Then they both throw their cards back over the light, 
(and they will have the appearance of having gone up in the air) 
and they both embrace and shake hands. Number one says : “I’m 
very much surprised to see you ; where have you been so late ? ” 
Number two says : “ Why, I have been to the opera this evening.” 
Number one says, “ Were you there ? why, I was there myself; 1 
went to see Faust , and liked it first-rate. But talking is dry work ; 
suppose we take a smile." Number two says, “It’s too late, all the 
public houses are shut up ; but I’ve got a private bottle in my pocket, 
so take some of this.” [Offers bottle ] 'Number one says, “I’ve got a 
private bottle, too, [NAozcs it] and a novel idea with it; suppose we 
change bottles and drink each other’s health.” Number two says, 
“Agreed.” They exchange bottles, and then touch the bottles to¬ 
gether, and drink, and touch the bottles and drink again, and repeat 
it, and gradually get a little tipsy, and stagger nearer the light, al¬ 
ternately, and back again near the curtain. (This will make the il¬ 
lusion of their bodies, growing larger as they near the light and 
smaller as they near the curtain.) Number one says, “ Hie, George, 
do you remember how the soldiers' chorus goes?” Number two says, 

“ I believe you, my boy, hie,” and sings a few bars of chorus, la, 
la, &c., then breaks into the old song, “We won’t go home till 
morning, we won’t go home till morning.” Number one says, 
“Stop! stop! that’s notit, it goes this way,” and sings part of 
chorus, la, la, &c., and gradually breaks into, “ We won’t go home 
till morning, hie, we won’t go home till morning, hie, we won’t go 
home till morning, till daylight does appear.” Then they both sing 
very loudly, and an old gent in dressing-gown, night-cap, and slip¬ 
pers, comes on from side with a lighted candle in his hand, and says, 

“ Look here, men, if you don’t go home, or somewhere else with 
your noise and bawling, I’ll call the police, and have you both ar¬ 
rested and sent to the station house.” They both sing louder, and 
the old gent calls, “ Police ! Police!” and they throw water from 
the bottles in his face, and he runs off, and they both laugh and sing 
still louder, when two policemen jump over and stand near the 
light, (this will make their shadows very tall) and hold their 
clubs up over the heads of the young men and threaten them, at 
which action, on seeing it, they appear very much frightened, and 
hold up their bottles to the shadows of the policemen’s noses, at 
which they lower their clubs, as if they liked the smell, and walk 


SHADOW PANTOMIMES. 


17 


sideways, nearer to the curtain, and take the bottles from the young 
men, and laugh and slap the youhg men on the back and get very 
jolly, and all laugh, and the young men sing again, and the police¬ 
men keep on drinking, and finally get slightly intoxicated, and join 
in the singing, going nearer to the light, and then nearer the cur¬ 
tain again. In the height of their merriment the old gent comes on 
and says, “ Yon won’t go home till morning, won’t you ? I’ll see if 
I can’t help you a little.” He rolls up his sleeves and goes off, and 
re-enters with the large club, and he swings it round and hits num¬ 
ber one, and he jumps over the light, (which will look as if he had 
knocked him up in the air—to help the illusion let the old man look 
up after each one has gone) then hits number two, and he jumps 
over the light, then hits the first policeman, and he jumps over the 
light, then hits the second policeman, but he does not move, at 
which the old gent looks astonished, and hits him again, but he does 
not move, at which the old gent looks very angry, and wets his 
hands and prepares to hit the policeman hai’der; the policeman look¬ 
ing round sees this, and jumps over the light of his own will; the 
old gent swings the club round with great force and lets it go out 
of his hand and over the light. (Some person back of light must 
catch it to prevent the noise of its falling.) When the old gent sees 
the club gone he is very much astonished, and jumps over the 
light with his back to the sheet, and his arms and legs extended to 
their fullest extent. Then the young men, and the policemen, and 
the old gent jump forward alternately over the light, the old gent 
last, and all the others pummel him vigorously, and catch him by 
the collar and the coat-tails and lift him up and throw him over the 
light, and then all laugh loudly and follow. 


JOCKO; OR, THE MISCHIEVOUS MONKEY. 

A Comic Shadow Pantomime. 

Properties required. —A working monkey-mask for the monkey ; 
a nicely dressed rag baby, about three months old ; a cradle, and 
a low rocking chair ; a bowl of sawdust, and a large spoon ; eye¬ 
glass for the traveler, and a whip and valise or carpet-bag for the 
servant ; a morning-gown, split up the back in two halves, and 
sewn loosely together, so that it will pull apart easily again : a chair 
and a table, with books, writing paper, bell, inkstand with two 
quill pens on it ; a basket containing a glazed muslin table-cloth ; 
a decanter half full of wine or ale ; a plate with some flour and 
water mixed like thick paste or thin dough ; a plate with a large 
slice of bread on it ; a table-knife ; a large earthenware bowl ; a 
long stick ; some short sticks ; brooms, poker, shovel, &c. 

This comic pantomime is commenced by the .monkey jumping 
over the light, and performing several antics, such as roiling over, 




18 


SHADOW PANTOMIMES. 


walking on all fours, scratching himself as monkeys do, Ac.; then 
jumping back over the light. Then the old woman comes on 
from the side, with the baby in her arms, and stamps her foot and 
calls, when a negro servant enters with the cradle and low rocking 
chair, and places them for her use on one side near curtain, and goes 
off, and brings on a bowl of sawdust and a large spoon, and 
gives them to the old woman, and then he goes off, and the mon- 
key comes on and jumps on the back of the old woman’s chair, and4 
watches her feeding the baby with the spoon from the bowl. 
When she has given the child two or three spoonfuls she motions 
it is sleeping, and carefully puts it in the cradle and rocks it to sleep, 
and then goes off at the side. , The monkey hides himself when she 
gets up, and when she goes off he comes out and rocks the cradle, 
and tastes the sawdust, but does not like it ; then takes the baby 
out of the cradle, and sits in the chair with it, and it is supposed to 
wake up and cry very loudly. (Some one at back must imitate as 
near as possible the child’s crying.) The monkey feeds it with the 
spoon, then puts the bowl of sawdust over its head and stops its 
crying ; then throws the bowl and spoon off, and rocks the baby in 
his arms in the rocking chair, and finally falls over backwards with 
the chair and the baby also, and gets up and throws the chair and 
cradle off at the side ; then the baby cries, and he picks it up, and 
rolls it on the floor, jumps over it, pushes it with his foot, scratches 
its head, and throws it up and catches it. It is crying all the time ; 
he knocks its head on the floor, and tries to stop its crying, but can¬ 
not ; and swings it round and round, and finally throws it over 
the light, and then jumps over after it. The old woman enters from 
the side, and looks round as if in search of the child, but cannot 
see it ; throws her arms up wildly, and screams, and then jumps 
over the light. Then the negro servant enters, looks up and laughs 
at her, motions she has gone up, and he jumps over the light. 
Then the monkey returns, jumping over the light, and frolics about, 
and finally runs off. Then a traveler j umps over the light and looks 
around with his eye-glass, and then claps his hands as if calling, 
when servant jumps over the light with the whip and the valise, 
and follows behind the traveler, who walks across and across, near 
curtain, and turns rather suddenly and knocks against the servant, 
and gives him a good smart slap in the face, then tells him to go 
to the house and knock at the door. Servant goes to side and strikes 
as if he was hitting the door, and old man entering at this moment, 
gets the third knock on his head ; the servant runs back and his 
master kicks him, and pushes him away ; then old man and the 
traveler go to embrace, when the servant gets in between them by 
accident, and they both embrace him, then see their mistakes, and 
both seize him and throw him over the light ; then the traveler 
motions to the old man that he has come to marry his daughter. 
The old man is pleased and rubs his hands, and motions it is all 
right, and asks in pantomime if traveler has plenty of money. He 
motions that he has lots of it, and will give it to him for his daugh¬ 
ter. Old man motions all -right ; he will go and^fetch his daugh- 


SHADOW PANTOMIMES. 


19 


ter, and introduce her to him, and he goes off. The traveler 
looks pleased, and adjusts his cravat, &c. Old man enters with 
his daughter, and motions to her that she must marry the man 
who has plenty of money to give her. She bows to him, and tra¬ 
veler bows to her very low ; while doing so, the monkey runs in, 
and pushes tiaveler with his foot, and runs off. The traveler falls 
forward on his face. Old man helps him up, and puts his daugh¬ 
ter’s hand in that of the traveler, and blesses them, and invites 
them into the house to eat. They consent, and traveler leads 
girl by the hand, and they follow the old man off at side. Ser¬ 
vant jumps on over light, and motions how they threw him up 
in the sky, and that he has only just come down. When he is 
explaining the monkey comes on and bites his leg ; the servant 
tries to kick him, but the monkey runs off and avoids it. The 
old man now enters, and is expressing his pleasure at the engage¬ 
ment he has made for his daughter. When the servant sees him 
he thinks it was the old man who bit his leg, and slaps him in 
the face, and as the old man turns the servant kicks him off at 
the side. The servant feels very proud of this, and strutting about, 
stands in center with his legs wide open, when the monkey runs 
through them, and upsets the servant, who gets up and panto¬ 
mimes that something ran through his legs and knocked him 
down. Folds his arms and stands wondering what it was, when 
monkey runs by his legs and knocks him down again. He sits 
up, folds his arms and shakes his head, as if in determination not 
to rise up and be knocked down again, when his master enters, 
and seeing him on the ground, looks at him and asks in action, 
what he is doing there. The servant, in astonishment, gets up 
and accuses the master of running through his legs and knocking 
him down. The master shakes his head and denies the imputa¬ 
tion, and tells the servant to go and get his loose morning-gown 
for him. The servant is going away to get it, when the monkey 
enters quickly and pulls him back by the coat-tails, until he knocks 
backwards up against the master, who turns and gives him a kick, 
and very angrily motions him to go for the dressing-gown. The 
servant in pain goes off, and the master motions that the servant’s 
brains are flighty, and he is very foolish, then claps his hands as if 
calling servant, who slowly enters with the dressing-gown, and 
holds it out—and the master puts his arm carefully in one sleeve, 
and as he is about to put his arm in the other sleeve the monkey 
enters and pulls the servant back by the coat-tails and he falls in 
the center on the floor, and as he was holding on the gown it has 
split up the back, and he has half of it in his hands, and the other 
half is on the master’s shoulders, and he is feeling with his arm for 
the other sleeve; the servant sees him and laughs at him, and gets up 
and goes and puts the other sleeve on the master’s arm, as he is reach¬ 
ing for it, and pins it together at the back. The master walks away 
to the other side, and the servant laughs at him ; the master hears 
him, and turns and looks at him angrily ; the servant looks very 
innocently, and motions, asking what his master requires ; the mas- 


20 


SHADOW PANTOMIMES. 


ter motions him to go in and bring him out materials to write with. 
The servant bows and goes off, and brings on quickly a table with 
books, some writing paper, two quill pens, inkstand, small hand bell, 
all on it, and then gets chair, and places table and chair to one side 
and near curtain, and invites the master to sit and write; the master 
goes to sit in chair, when the monkey enters and pulls chair away, 
and the master falls, and gets up quickly and angrily, and slaps the 
servant in the face, (the effect of this will be heightened if the servant , 
the moment the master slaps at his face, will clap his hands loudly together 
the same as regular pantomimists do in a pantomime), and then 
picks up the chair and sits down and leans over to write. 
While he is doing this, the monkey enters, and pushes the master’s 
head from the back, so that his face appears to strike the table, and 
the monkey runs off, and the master motions pain, and then hits 
the servant on the head for it. Servant cries, and in action asks, 
why did you hit me ? The master says in action, because you pushed 
my head on the table. The servant motions, what, me push your 
head on the table ? I am sure I did not. The master in action says, 
you did. The servant, in action, says, no I did not. After contra¬ 
dicting and accusing each other for several times, the servant puts 
one hand on his heart, and raising the other hand in the air, moves 
his mouth as if swearing that he is telling the truth. The master, 
in anger, sits at table and writes, and folds letter, and gives it to ser¬ 
vant ; and in action tells him to go ’ off and post it. The servant 
takes letter^ and motions putting it in a letter-box, and goes off 
with it. The master takes off dressing-gown and puts it on chair 
and goes off the other side. The monkey enters and jumps on table, 
and then on the chair, and puts on the dressing-gown, and rings the 
bell, at which the servant returns, and motions that he heard his 
master ringing the bell, and he has come back to see what he re¬ 
quires, and then he goes over to the monkey, who gives the servant 
some sheets of paper. Servant looks at paper and motions his mas¬ 
ter has gone crazy, and laughs at him, and is going off with them, 
when monkey rings the bell again, and he returns and goes to 
monkey, who gives him some books and inkstand ; and he is go¬ 
ing off with them, when monkey rings bell, and he returns, and 
monkey loads him with books, and then turns and looks at him and 
chatters with his mouth, and rings the bell in his face. The servant 
looks at him in astonishment, and throws the books at him, which act 
the monkey avoids, and the servant gets a whip, and tries to whip 
the monkey, who eludes him and runs off ; the servant stands with 
the whip and threatens him if he returns ; when the monkey 
jumps over the light, and jumps on the servant’s shoulders, who 
slashes and cuts around with the whip, when the monkev jumps off 
his back and jumps over the light, and the servant sees him and 
follows him, then girl comes on 'and moves the books, writing ma¬ 
terials, &c., from the floor, and fetches on a basket, and takes 
from it a glazed muslin table-cloth, and spreads it on the table, and 
then puts on a decanter of wine, an earthenware bowl, a plate with 
some flour and water mixed like paste, or thicker, so as it clings 


SHADOW PANTOMIMES. 


21 


together, a plate with a large slice of bread on it, and a table knife ; 
all these things she takes from the basket she brings on. Just as 
she gets the table spread,out, the servant jumps back over the light 
and stands in center, and throws his whip down, and motions he 
cannot catch the monkey, and is in despair, and folds his arms, 
when monkey jumps over the light, and picking up the whip, gives 
the servant a smart cut on the leg, and dropping the whip runs off. 
The servant jumps about, motions he is in great pain and rubs his 
leg, and finally looks up and sees the girl, and accuses her of cutting 
him with the whip. She shakes her head and denies it. He nods 
his head and indicates she did do it. She motions, “No.” He looks 
at her comically, and asks her by action for a kiss. She refuses him. 
He motions he will catch her and then kiss her. She motions all 
right; if you can catch me you can kiss me. He runs after her 
around the table, and then she runs off at the side, and as he is fol¬ 
lowing her, the monkey runs in and jumps in his arms and kisses 
him. The servant struggles to free himself from the embrace of 
the monkey, who-pushes him down and jumps over the light. Ser¬ 
vant gets up and threatens him with the whip, and motions that 
the monkey has climbed up a tree*»and he goes towards the table, 
and sees the eatables,&c., and is very much astonished and pleased, and 
throws the whip away, and goes to the table and sits down, drinks out 
of decanter, and takes from the bowl with his fingers, as if eating lumps 
of sugar, and then takes up bread and bites it, and eats, then shows 
the knife, and dips up some of the paste, and shows it as it hangs 
on point of knife, and laughs with pleasure, and then he spreads it on 
his bread, and is settling himself down to the enjoyment of his meal, 
when the monkey comes in and plays several pranks on him, that 
the circumstances of the situation may suggest, such as hitting 
his toes, pulling his hair, tickling his face, &c., and finally, as the 
servant is eating the bread, he rubs the bread in his face, and the 
thick flour and water sticks to his face, and the monkey runs off, 
and the old man comes on at this moment. The servant, think¬ 
ing it was him done the trick, slaps the bread in his face, and as 
the master is entering behind the old man, the,servant rubs his 
face in the master’s, and then runs off. The master and the old 
man are both trying to catch the servant ; they catch each other 
by mistake, and commence each to pummel the other until they 
discover their error, and both apologize, shake hands, and go off in 
pursuit of the servant. As soon as they are off, the monkey enters 
and sits up at the table, drinks out of the bottle, and licks out the 
bowl, and, catching the table-cloth, by a very quick jerk can pull 
this table-cloth off the table, leaving the things that were on the table¬ 
cloth on the top of the table,as if they had been originally placed there. 
(N. B. This trick requires a great deal of practice, and I would advise 
intending performers to be sure of its accomplishment before attempt¬ 
ing the feat, as a failure to perform it will spill all the things on the 
floor, and mar the effect desired to be produced.) Then the monkey, 
putting the table-cloth on the floor, rolls over in it, and comes up with 
it over his shoulders, like a cloak, and walks around with it, then 


22 


SHADOW PANTOMIMES. 


throws it off, and jumps on table, and throws, plates and knives off, 
and then places his feet on each side of the neck of the bottle, and 
stands on the part of it that swells out, and gets up into a straight 
balance, and then stoops down and gets the bowl, and drinks out of 
it until it is empty, and then jumps off the bottle on to the table. 
(A few hours practice will accomplish this feat very easily, with per¬ 
severance as your motto.) Then the monkey puts the bowl on his 
head, like a hat, and takes up the bottle to drink, and leaning his 
head back, the bowl falls off his head and breaks, and he turns 
quickly round and looks on the floor at the damage he has done ; 
then the servant comes in with a long stick and strikes at the mon¬ 
key as he is on the table, but the monkey jumps off and eludes him, 
and dodges the blows from the stick several times, and finally seizes 
the stick from the servant and beats him most unmercifully until he 
runs off Then the monkey pushes the table, chair and other things 
off, to give a clear field, and waves his stick about. When the mon¬ 
key has his back turned, the servant enters with a short stick, and 
calling on the others, who enter, they advance On the monkey to 
beat him, when he turns round suddenly and belabors them all, as 
they run around to avoid the blows, some jumping backwards and 
forwards over the light as they get struck, and some falling down, 
and .ah getting a very severe beating from the monkey’s in¬ 
discriminate blows. In the height of the melee, when the laughter 
is the loudest, suddenly shut out the light at back, and turn up the 
lights in the audience part of the room. This will have the effect as 
of a sudden falling of the curtain on a laughable tableau. 

Note. —The long stick mentioned can be made of five or six canes 
or rattans tied together, and about six feet long. This, when strik¬ 
ing on a person, will make a loud noise, but will not hurt. The per¬ 
son playing the monkey can wear almost any tight-fitting dress, and 
a monkey-mask with a moveable jaw, which can be purchased by ad¬ 
dressing the publisher, 0. A. Roorbach, 102 Nassau St., New York or 
the costumes, properties, &c., can be procured of Tony Denier, who 
personally superintends the production of all styles of parlor and 
school entertainments, or out-door fStes, and furnishes, if required, 
all the necessary concomitants to render them complete. See Tony 
Denier's book on Tableau Yivants for the Parlor, which can be had 
by addressing the publisher. 


THE MADCAP BARBER ; OR, THE UNFORTUNATE VICTIM. 

‘ ‘ INTREMEDE COMIQUft. ’ ’ 


. Accessones needed. A barber’s pole, cut out of stiff pasteboard a 
sign, with the letters cut out to read, Frizzle, Barber, to be made out 
of stiff pasteboard, a newspaper, a large bell to ring, some carpet¬ 
bags and satchels, valises, coats, shawls and bundles for travelers a 



SHADOW PANTOMIMES. 


23 


bandbox, a satcliel with crockety ware in it to break, a chair ready 
back of light, a long cloth such as barbers use when cutting hair, a 
large bowl of thick lather, and a large brush, a large wood¬ 
en razor, a leather strap about three inches wide and a yard 
long, with a strong cord loop on one end, to go over a man’s 
head.* 

The round circle is used the same as in the amputation 
extraordinary, with the barber pole fastened on one side 
[See Fig. 14] and sign on the other side, [See Fig. 15] fand 
is commenced by the barber (in a comical dress and apron, 
and a wig, with the hair standing up very straight) jump- 



Fig. 15. 


ing over the light and exclaiming, “Well, here I am, the 
great barber extraordinary to the man in the moon ; I've 
shaved his royal highness for the fortieth time to-day, and 
now have nothing to do, and I am so anxious for another job, 
f6 try as an experiment my new patent double-edged razor, 
that cuts both ways at once, and shaves you before you 
Fig. 14 have hardly sat down in the chair ; I only wish that some 
verdant visitor would only arrive here, that I might test the pow¬ 
ers of my new invention. It’s astonishing that we have no 
more visitors in this lunary sphere of ours—by ours, I mean 
the man in the moon and myself; in these days of telegraphs 
under the sea, and railroads under the earth, it astonishes me 
that no one builds a railroad in the air. It’s a well-known fact 
that the moon is inhabited, and why don’t some enterprising Yankee 
come here and start business, or why don’t the Government buy us 
out, now they’re in that business—by-the-bye, the last sublunary 
Tribune that I captured off the tail of a little boy’s kite, as it flew up 
near the moon, informed me that an serial railroad was to be built 
to the moon, and was to be finished on the fourth of July, 1968— 
that is this very year, and this the very day; I’ll read the paper and 
see if I am correct.” Goes and gets the newspaper, says, “Oh, here 
it is,” and reads : “ Shares in the great serial railroad for sale ; price 
twenty-five dollars each share, and no greenbacks taken. This road 
will be completed to the moon, July fourth, 1968, and will open up 
a large field to the industrious young men of both sexes, and offer¬ 
ing extra inducements to the pleasure-seeking traveler, and new ex¬ 
plorations for the adventure-seeker. Fare as low as by any other 
route. N. B. Beware of bogus balloon swindles. ‘‘That’s it, and hark, 



24 


SHADOW PANTOMIMES. 


in the far-away distance I think I h£ar the hell of some snorting en¬ 
gine on its way hither ; yes, that’s it, (some one outside rings bell 
and imita-tes cars) and by the shouts, loaded with passengers. Now, 
Frizzle, my boy, keep a sharp look out, and your fortune’s made.” 
A bell rings in the distance, in imitation of the arrival of a train of 
cars, with shouts of hackmen, porters, &c., when passengers enter 
and cross from side to side with bags, baggage, &c.; he importunes 
each one to get shaved, but they all refuse, and go off at other side, 
whl|n a tall country Yankee, in the well-known costume of bell- 
crooned hat, long-tailed coat, short-legged^pantaloons, with straps, 
a frilled shirt and standing collar, large necktie, a full curly wig, 
and a tight cap underneath, to look like a bald head ; he carries a 
bandbox and a satchel when he enters, and as barber is walking 
across in despair, at not getting any customers, he and the Yankee 
knock together in center, and both fall, when Yankee exclaims, 
“ Confound your picter; is this the first salute I get for all my 
trouble in coming to your outlandish country ? Say, (he gets up) 
what do you mean ; if it’s fighting you want, get up again and I’ll 
knock you down quick’rn greased lightning ? ” The barber shakes 
his head, and in action apologizes, when the Yankee says, “Well, as 
you apologize, I’m satisfied; so get up here, and let’s be friends, 
for it’s not my country fashion when a man’s down to keep him 
down, but try and help him up, so give us your fin and let’s have a 
confabulation.” Takes barber’s hand, and pulls him up, and says, 
“I say, lookee hdre ; is this the moon I've hear’n tell of ?” Barber 
says, “ Yes, sir ; this is the only original moon.” Yankee says, 
“ Well, then I suppose I’m all right; I bought a through, ticket on 
the new aerial railroad, and am right glad I am here at last, as I 
came here with the intention to civilize you lunartics, and if I like 
your country, why I’ll buy you out, bag and baggage. Now tell us 
who you are, and how we can trade jack-knives together.” The 
barber says, “I am the great Frizzle, seventh son of a seventh son, 
and barber extraordinary to his serene highness, the man in the 
moon, whom I shave forty times every day, and still—like Alex¬ 
ander—I sigh for more beards to mow off. I am the only inventor 
of a new patent hair rejuVenator, also the world-astonishing two- 
edged razor, that will shave a man on both sides of his face at once, 
and comb his hair and brush his whiskers at the same time, by an 
ingenious contrivance in the handle ; and if you should require any¬ 
thing of the kind done, I shall be pleased and happy to show you 
•my new invention, and put to practical test its wonderful powers on 
your handsome face.” Yankee says, “ Say, old Frizzle, if your 
razor comes anywhere near your double-action tongue, I’d like to 
V see it, and give you a job, as I like to encourage native talent in 
every way. So here, take my valise.” The barber takes it, and 
throws it off at one side, and as it is filled with broken crockery ware 
it makes a great noise as it falls. Yankee says, “Lookee here, bar¬ 
ber ; can’t you manage to be a little more careless ? that valise has 
got a magnificent set of china ornaments that I bought as a present 
for my Mehitable Ann, and I don’t want ’em broke.” Barber mo- 



SHADOW PANTOMIMES. 


25 


tions it is all right, and jumps over the light. Yankee looks up 
after him and says, “ Well, jewillikins, this is the strangest country 
I’ve ever been in ; I wonder where he has gone to ? I guess he must 
have gone in the attic room.” Then he looks up and calls out, “Hi, 
barber ! ” Tlie barber at back of light says, “All, right, sir, be down 
in one minute.” The Yankee laughs heartily, and barber jumps over 
the light in front of the Yankee, who is very much astonished at his 
sudden appearance. Barber bows, and motions Yankee to sit in the 
chair, and as he goes to sit in it, barber picks up the bandbox, and 
puts it on the seat of the chair, and Yankee sits down on it and 
crushes it, then jumps up and shows the bandbox all crushed, and 
says to the barber, “ There’s another ten dollar hat gone to thun¬ 
der ; by Jingo, I won’t stand this.” Barber siys, “ Well, sit down, 
then.” and seizes him and pushes him down in the chair ; then takes 
the bandbox and throws it over the light, and jumps over after it. 
The Yankee, bewildered and in astonishment, says, “ Well, they do 
say that when you’re in Rome you must do as the Romans do, so I 
suppose now I’ve got to the moon, I must do as the mooneys do, so 
I’ll resign myself to my fate, and then take the first train back to 
Pumpkinville. marry Mehitable Ann, and settle down to a quiet life, 
and never more go roaming. Barber now jumps over the light with 
a long cloth which he shakes in the Yankee’s face, who waves his 
hands about to keep it from his eyes, and calls out, “ Look here ; 
flip that there rag of your’n some other way, will you ?” Barber 
then takes cloth, and putting it in front of him, ties the ends at the 
back of his neck, and pulls them very tight. When the Yankee 
struggles with his hands and feet moving, and calls out, “Oh ! oh ! 
you’re choking me.” The barber laughs at him and pushes him down 
in the chair again, and then jumps over the light. The Yankee looks 
after him in astonishment, and the barber immediately jumps over 
the light with a large bowl of lather and a very large brush, a large 
wooden razor, [See Fig. 16] a wide strap about a yard long, with a 



Fig 16. 


strong cord loop at one end, to go over a man’s head. He puts the 
things down on the floor, and the Yankee looks at them, wondering 
what he is going to do with them, when the barber says, “ Ah, now, 
illustiious stranger, I’ll show you how we manipulate our customers 
when performing the grand and sublime art tonsorial.” Yankee 
says, “Lookee here, you, I dDn’t want none of your foreign fandan¬ 
goes ; 1 only want shaving. Barber says, “ All right, my worthy 


26 


SHADOW PANTOMIMES. 


sir ; I will just sharpen my wonderful razor, and then you shall see 
what you shall see—your face cleanly shaved, your teeth cleaned, 
and your hair nicely shampooed, in the short space of the winking 
of an elephant’s eyelid. So just put this over your head.” He puts 
the loop of strap over his head, and says, “ This, you see, is my new 
invention—the flexible razor-strop. You will admire its action as 
soon as you see it used ; and this is my wonderful razor.” He takes 
up the large razor, and shows it to the Yankee, who starts up, as he 
deliberately opens it, and exclaims, “ Here ! I don’t want shaving 
with that murderous weapon. Why, if your hand should slip, you 
would cut my head off my shoulders. I tell you I don’t want to be 
shaved—I want to go home !” Barber pushes him down in the 
chair, and then seizes one end of strap, and commences to rub the 
blade of the razor backwards and forwards, near to Yankee’s face, 
and finally hits Yankee in face with the razor, and he falls over 
backwards, with the chair, on to the floor, exclaiming, ‘‘Oh, I'm 
cut. Oh, dear ; oh, dear.” The barber drops razor, and puts the 
chair up again, and seizes Yankee at back under his arms and jumps 
him over the back of chair, into seat of chair again, and then gets 
the bowl of lather, and stirs it up, and shows the large brush. The 
Yankee looks at it in astonishment, with his mouth wide open, 
when the barber puts the brush in his face, and he gets the latheV in 
his mouth and coughs and splutters over it very much, when a lady 
enters from opposite side and taps the barber on his shoulder at 
hack, as if going to ask him a question, when the barber suddenly 
turns and dabs the brush in her face, and she screams and runs off. 
The barber laughs and imitates her screaming. The Yankee sees it 
and laughs very hearty, and as he is laughing the barber dabs the 
brush in his face again, and lathers him all over his face and head, 
when a lame man with a large hump on his back, and stooping very 
much, comes in to get shaved. He goes to barber and taps him on 
• the shoulder, and the barber turns and dabs brush in his face, and 
as he turns to go off dabs the brush on him several times until he 
runs off, then barber laughs and finishes lathering the Yankee, and 
puts the howl and brush off, and then with the large razor com¬ 
mences to shave him, and scrapes the lather off his face with the 
razor, and wipes the razor on the knees of the Yankee’s pantaloons, 
which the Yankee sees, and call out: “ Here ! what are you doing ? 
Do you know you’ll spile my best Sunday go-to-meeting pants? 
Just you wipe your darned stuff on some other place, will yer ?” 
The barber laughs, and then seizes him again and goes on scraping 
off the lather, and as Yaukee puts up his foot, the barber is looking 
for some place to wipe his razor, and seeing the Yankee’s foot up 
lie wipes the razor on the sole of his boot The Yankee all the 
time he is getting this rough treatment is trying to get up, but the 
barber pushes him down each time into the chair, and goes on with 
the action of shaving him and flourishing the razor about, which 
still frightens the Yankee very much. The barber then’dances 
around and shaves him very rapidly, and finally jumps up, standing 
on the Yankee’s knees, and, in numerous grotesque positions, goes on 




SHADOW PANTOMIMES. 


27 


with the shaving ; then gets off, and while doing so, he seizes the 
Yankee’s wig and pulls it off and holds it up in triumph, leaving 
the Yankee with a bald head, who immediately claps his hands to 
his head, is astonished when he feels he has no hair on, and threatens 
and pursues the barber, who, to avoid him, jumps over the light, 
and the Yankee follows. 

N. B.—If it is required to perform two or three of these pieces 
in order to constitute a full evening’s entertainment, it will be well 
immediately one is finished, to place something in front of the 
light to keep it from shining on the sheet, and during this clear away 
the properties, &c., used in the last piece, and place those needed 
in the following one in their places ready for use ; then remove the 
shade from the front of the light, and let some one in a loud clear 
voice announce the name of the next performance, so that all may 
hear it, and their attention drawn to the performance. 


CEIBBAGE ; OE, THE DEYIL AMONG THE CAEDS. 

The articles called for in this amusing sketch are : A small light 
round table, two chairs, a false nose for the landlord, an apron and a 
large watch and chain, a table-cloth, two tin plates, knives and 
forks, two tin cups, a mug of beer, a tin dish with an imitation leg 
of mutton on it, a loaf of bread, &c., a whip for first traveler, a 
door knocker fixed at back of light, for travelers to use before 
entering, a pack of cards about a foot long and seven inches wide, 
with all the cards that are mentioned in the game cut out so that 
the characters will show on the curtain when they are held up 
between the light, a demon mask with horns for the youth per¬ 
forming the character, and a large inflated bladder tied on to a short 
stick. 

At the commencement, and as soon as the light is thrown on the 
sheet, the landlord, a very stout man with a large false nose, and 
dressed like an English landlord of a country inn, in his shirt 
sleeves and with an apron on, jumps over the light and stretches 
himself and yawns very loud, and says : “ Bless me, I declare I’ve 

been to sleep ; I wonder what time it is ?” and he pulls out a large 
watch, looks at it, and holds it up to his ear, then looks at it in great 
astonishment, and says, “ Nearly ten o’clock, by jingo, and not a 
customer from the road this blessed evening puts his watch in 
his pocket, and looks up, and calls out: “ John, why haven’t you 

lit the lamps on the road this evening? I declare that fellow has 
so little to do that it makes him lazy to think about it. You John ! 
light up that gas directly, and then look sharp and brighten things 
up a bit, and if there’s no more customers to the Black Bull in less 
than an hour, we'll close up the hotel and go bed. John, on the 
outside, says, lazily, “ All right, sir. I be very tired.” Landlord 
says, “Now did you ever hear of such a thing? he says he’s very 



28 


SHADOW PANTOMIMES. 


tired, and I declare we haven’t had a customer-in twenty-four hours, 
and the last one we did have ran away without paying his hills, 
ana declared that the house was tenanted with goblins, fiends and 
devils, and I suppose by this time he has spread the report around 
the country, and the former good reputation of my house will be 
ruined; well, as the old song says' ‘Grieving’s a folly, I hate 
melancholy,’ so what’s the odds so long as you're happy ? lets enjoy 
ourselves while we may, so John bring in the table and chairs and 
let me have my supper right away, and then we will lock up the 
house and be off to bed.” John jumps over the light, and says : 
“ Did you call me, sir ?” Landlord says : “Did I call you ? to be 
sure I did, and loud enough to wake up the seven sleepers ; so wake 
up, you lazy rascal, and make haste and get my supper ready ; now, 
then, go get the table.” John says : “ Am 1 to do it all alone by 

myself?” Landlord says: “No, you lazy lout, I’ll help you,” 
and he kicks John behind, and he jumps over the light, at which 
the landlord laughs and says: “That is the quickest move he’s 
made for many a day, ha! ha ! ha ! but I must go and look after 
him, or else he will fall asleep again before he comes down stairs; so 
here goes ;” and the landlord jumps over the light, then landlord 
aud John jump over the light with a small round table, and place 
it in the center of the sheet; then each jump over again, and bring 
on a chair, and place them on each side of the table ; then landlord 
jumps over the light and jumps back again, and brings on a table¬ 
cloth and spreads it over the table, and John jumps over tne light 
and returns with tin dishes, cups, plates and one dish with an 
imitation joint of meat on it, and a loaf of bread, knives, &c., 
then gets a mug of beer and places it on table ; landlord sits down 
and is going to eat, and says, “ I never could enjoy a meal all by 
myself. I must have company, so John, just you sit down and try 
and keep awake, and you can take your supper with me ” John 
says, “ Thankee, sir,” and sits down on one side of table and the 
landlord on the other; they cut bread and are about to enjoy them¬ 
selves, just going to eat, when a loud knocking and calling for 
landlord is heard as if at door outside. Landlord says : “John, 
go and open the door and see who it is.” John drops his bread 
very reluctantly, and jumps over the light; landlord says, “Ah ! 
now I shall have a good customer surely at this time of night, and 
I hope a jolly companion to supper rubs his hands and looks at 
his watch, and says, “ past eleven o’clock—why, how the time flies.” 
Alien John jumps over the light, followed by the traveler, who says : 
“ How do you do, landlord ? can I have a bed and a nice hot supper 
here?” Landlord says: “Certainly, sir, certainly. John, show 
the gentleman to a seat at the table, and you can wqdt for awhile.” 
John shows the traveler to his seat, and as he sits down he 
threatens him, and goes and stands back of the landlord’s chair. 
The traveler throws off his coat and hat and taaes his seat, and says : 
“ It’s a very cold evening, and I am glad to get in here where it is 
warm, and also to see you have a nice hot supper ready, and I assure 
you that I mean to do justice to it.” John says (aside): “ Yes, you 


SHADOW PANTOMIMES. 


29 


look mean enough to do anything.” The landlord bows very 
obsequiously to the traveler, and says : “I am pleased to see you, 
sir, and am happy to welcome you to the Black Bull, the finest inn 
for fifty miles, where you will tind the softest of beds, the choicest 
of wines and liquors, and in the way of eatables, the very best the 
market affords, and served up in the most tempting style by polite 
and attentive waiters, and all the aforesaid at the most reasonable 
rates.” Traveler says: “This fellow seems to be gifted with 
plenty of tongue, and I think will serve to beguile the tediousness 
of an hour or two, so I’ll invite him to take supper with me,” and 
says, “Landlord, I am very sorry to have disturbed you while at 
your supper, and in order to make amends for the interruption, why, 
suppose you keep me company, and we’ll driuk to our better 
acquaintance.” John says (aside): “He don’t seem sorry for me 
a bit.” Landlord says to traveler: “With pleasure, sir, with 
pleasure. I am never so happy as when I am obliging my customers, 
and eating and drinking with them in a friendly manner.” John 
says (aside): “Yes and at their expense.” Landlord pours out 
beer in the cups, and the traveler and landlord both lift up their 
cups and knock them together, and rise up as if to drink 
a toast, when a loud knocking is heard outside, and landlord 
and traveler both put their cups down and fall into their seats as if 
half frightened. John laughs at them ; the knocking is continued, 
and John at one side, back of landlord, pretends to be asleep ; land¬ 
lord calls out, “John ! John! confound that fellow,” and gets up, 
turns around, and sees John asleep ; lie kicks him behind and he 
jumps over the light, and landlord calls out: “ Go and see who that 
is knocking at the door.” Landlord sits down again, and says to 
traveler: “ That servant of mine is the sleepiest and laziest fellow 

I ever had ; he can never do anything without making some 
blunder or other, that he nearly drives me crazy ; but let us drink 
and enjoy ourselves.” They are about to drink, when John suddenly 
jumps over the light, very much out of breath, and stops them 
from drinking Landlord says to him : “ Well, who is it?” John 

says : “A traveler who wants to get some supper, and also to stop 
here all night, sir.” Landlord says: “Well, why didn’t you let 
him in?” John says : “You never told me to, you only told me 
to go and see who it was.” Landlord, enraged, throws beer in his 
face, and says : “ Well, now go and let him in, and look after his 

horse. John sobs, and says : “He aint got no horse.” Landlord 
says: “Well, what has he got?” John says: “He’s got an 
animal like you, sir.” Landlord says: “ Like me, what’s that?” 
John laughs, and says: “A donkey, sir,” and jumps quickly 
over the light, as the landlord makes a motion as if to throw a 
plate at him ; then landlord sits down, and pours out more beer in 
cups, and he and the first traveler are goiug to drink, when second 
traveler jumps over the light, and says : “ Excuse me, gents, for 

disturbing your feast, but lam on a traveling tour to a far distant 
city, and as it is getting on for twelve o’clock, and my full-blooded 
animal is tired and jaded, I concluded to stop at this comfortable 


30 


SHADOW PANTOMIMES. 


looking hotel, in quest of rest and refreshment, and am delighted 
to find such pleasant company here, and hope that you will have 
no objections to letting me join you in a friendly way.” First 
trave ler says : “ Not in the least, my dear sir, but shall feel honored 

by the pleasure of your company. Here, Boniface, jump up and 
let this gentleman have your seat, and you can retire to your larder 
and enjoy yourself in the company of your lout of a servant. 
Landlord gets up, and says: ‘‘Certainly; very well, gentlemen, 
but please to observe to be very quiet, as it is now nearly twelve 
o’clock, and I make it a rule to close my house precisely at twelve 
o’clock every night; so, gentlemen, I will wish you a very good 
night. Both travelers say, “ Gfood night,” and the landlord jumps 
ever the light. The second traveler takes the landlord’s vacant 
chair, and sits by table, and rubs his hands. The first traveler 
says: “You have had a rough ride to-night.” Second traveler 
says : “Yes. sir ; and a very cold one too. I am a lawyer, on my 
way to the next town to try a very important case, and I shall have 
to start with the rising sun to-morrow ; so let’s drink to each other 
and be merry for the short time we shall be in each other’s com¬ 
pany. They lift up their cups and knock them together, and are 
about to drink, when a boy jumps over the light, dressed in a 
tight-fitting suit, with a tail and a lage demon mask, with horns 
on his head. He gets on table, and frightens the travelers, who 
drop their cups, and demon jumps off the table, and hides under¬ 
neath it. Both travelers look on table for him, and as they do not 
see him they laugh at one another for being frightened, and as they 
go to drink again, the demon touches them on the shoulders, and 
they turn away to look, and the demon catches the four corners 
of the table cloth and lifts it up with all the things in it, 
and jumps over the light with it. The travelers look 
round and see the things gone, and both sit down again and 
look at the empty table in astonishment; both turn and sigh, 
and are about to lean their arms on the table, when the demon 
jumps over the light and lifts the table away, and jumps over the 
light with it, and as travelers go to lean on table they both fall, 
and get up and discover that the table is gone, and are both very 
much bewildered, and, then recovering themselves a little, say : 

’ L'-t’s sit down,” and as they go to sit, the demon jumps ovei 
’lie light and steals the two chairs, and jumps over the light with 
them, and the travelers go to sit and fall on the floor, and both 
i ( "»k astonished at each other, and turn and both laugh heartily. 
First traveler says: “This place must be bewitched ; first we lose 
our supper, then the table that contained it, and now we lose our 
sents, without a chance of contesting them ; what shall we do now ?” 
Second traveler says : “If we had a pack of cards now we might 
have a little game before we go to bed.” First traveler says: 

Whv, it’s past twelve o’clock, and I never like to play after twelve, 
have often heard that the old boy himself watches and directs 
ame after that time.” The second traveler laughs, and says : 
“All a grandmother’s story, I’m a lawyer and care not for man 


SHADOW PANTOMIMES. 


31 


nor demon, and I only wish we had a pack of cards and we’d soon 
test the truth of what you say.” First traveler says: “Well, 
as you seem so anxious, why I wish we had the cards for one 
game as soon as they have said this, the demon jumps over the 
light with a large pack of cai'ds, (with the spots and characters 
cut out, so that on being held up between the light and the sheet 
they will show to the audience what they are) and he drops them ih 
between the two travelers and jumps over the light again. First 
traveler turns and looks down and sees the pack of cards, and says : 
“Why, bless me, I am surprised; it seems as if our very wishes 
were heard and answered; for look, here is a pack of cards, all ready 
to our hands, and we can now enjoy ourselves to our hearts’ con¬ 
tent; what say you?” Second traveler says: “What say I! 
why, that I am very much and very agreeably astonished ; and now 
that we have the cards, what game shall we play ?” First traveler 
says: “Let’s play at draw poker or seven up. Second traveler 
says : “ No, let us play at cribbage, there is no game so interesting 

as cribbage.” First traveler says : “ Well, as you like, cribbage 

it shall be ; now whose deal is it ?” Second traveler says : “ Let 

us cut for deal, aud low to deal first;” then he takes the cards, and, 
after shuffling them a little, puts them down in center between 
them, and first traveler takes a card and shows it is a five, and says: 
“ Mine is a five.” Second traveler lifts up and shows a ten-spot, 
and says : “ And mine’s a ten ; so you deal away.” First traveler 

shuffles the cards again, and offers them to second traveler, who cuts 
them, then first traveler deals out five cards each, (all spot cards) then 
turns up one from the pack, and shows it is a jack, and puts it 
down, and says: “I take one for his nob;” at this the demon 
jumps over the light, with the bladder on the stick, and hits him 
on the head with it; then second traveler says : “ And I take two 

for his heels,” and the demon jumps over to him and hits him 
twice with the bladder ; then each accuse the other of hitting him; 
then finally beg each others’ pardon, and say : “ Let’s go on with 

the game ;” then first traveler plays a ten, and second traveler 
plays a five, and says: “Fifteen two,” aud the demon hits each 
one once on the back, and goes off. First traveler says : “Some 
one hit me on the back; I do not like this, and shall get angry 
directly.” Second traveler says: “Some one hit me also, and I 
do not like it. I think that landlord is playing us some tricks, but 
if I catch him I will teach him not to play tricks on travelers ; but 
never mind, we will watch and wait, and we shall surely catch him ; 
so now let’s go on with the game ; it is my play, and I play a five, 
and take two for a pair ;” as he says this the demon gives him two 
smart raps, and then disappears. He says : “ Look here, landlord, 
if this thing occurs again, we will both leave your house directly.” 
Then second traveler plays a nine-spot. First traveler says he cannot 
go. Then second traveler says: “ I take one for a go.” Demon 
runs in and hits him and disappears, and the traveler threatens off, 
as if threatening landlord. Second traveler says to first: “What 
have you got ?” First traveler counts, and has two fives and a ten; 


32 


SHADOW PANTOMIMES. 


and counts, fifteen two, fifteen four, and a pair, making the total 
count six. The demon appears at back of him. and he threatens 
him* and disappears. Second traveler says : “ Now T take my hand,” 
and shows his cards, and has eight, nine and five, and the jack oil 
the pack, all together counting two, as the eight and nine are of no 
use with the five; as he counts the two the demon appears at his 
bhck and threatens him. and disappears again Sec >nd traveler 
says: “ Now, whose crib is it?” The first traveler says : ‘-It is 
mine." The crib can be all blank cards if preferred to save trou¬ 
ble ; and he counts fifteen two, a pair is four, and one for his n >b 
is five ; as he says this, the demon jumps in center and be s each 
on*-* with the bladder and they see him and are very scared a d c d ! 
out landlord ; John and the landlord jump over the light, and the 
demon belts all four indisciimiuately roan I about the stage and 
as lie hits each one a very hard knock, they jump over the light 
alter each other, and the demon follows Out of the five cards 
dealt out, each throw out two cards, and that will make the disea:d 
or crib. 


BLONDIN ON THE TIGHT-ROPE ; OR, THE LOVERS’ 
STRATAGEM. 

The articles required for this laughable, and, to the audience, 
very extraordinary illusion, are very simple and easily procurable, 
viz. : An imitation tight-rope, which is made by a” long plank, 
about two inches thick, and about eight or ten inches wide, and 
long enough to reach two or three feet beyond the sheet on each 
side to where the stools are placed. At the commencement the 
plank is on the floor, and when they come to put up the tight-rope, 
they merely raise it up on the stools, and it will only throw a 
shadow on the sheet like a rope ; two carpenters’ trussels or stools, 
one about two feet six inches high and the other about four feet 
high, so as to give an incline to the rope or plank; a short pole, 
about three or four feet long; a small wheelbarrow, as used by boys; 
a muslin bag as described, about three feet long, and twenty-two 
inches wide, with arm-holes; an Irishman’s coat, hat, stick and 
short pipe: a large pair of whiskers for Dennis; a dressing-gown 
and smoking-cap for Charles; a large pair of Indian clubs, or they 
can bo imitition ones padded; a large paper, with seal like a marriage 
contract; a large piece of wood, or half a brick, to look and be 
used like a piece of chalk to chalk the rope; a newspaper, with 
the advertisement written in it; and a large pair of spectacles or 
eye-glasses. 

Note. —Do not forget that all the action must be done as much as 
possible sideways or in profile, or it will not be seen. 

Immediately the lights are down in front, and the sheet is bril¬ 
liantly illuminated from the back, then Mr. Blownanl (a stout, 
portly old gentleman) enters from one side and his daughter from 



SHADOW PANTOMIMES. 


33 


the other, he says to her : “ Good morning, Seraphina ; have you 

taken your morning exercise yet ? You know you must not neglect 
it, as I want you to become robust and healthy as I am at the 
present moment; here am I seventy-four years of age and as hearty 
as a young man of eighteen, and all by taking my regular gym¬ 
nastic exercise. Ah, there is nothing like it ; and I am glad to see 
that the parents of the present day are wise in sending their sons 
and daughters to the gymnasium, where they can expand their 
chests, harden their muscles, and invigorate the system generally. 
And mark my words, Seraphina, that I have concluded never to 
marry you to any but a gymnastic artist, a man who is perfect in 
limb and form, no matter what his facial beauty may be ; so make 
up your mind to what I say, and go and practice with the twenty- 
four pound Indian clubs that I had made expressly for your use. 
Seraphina says : “Oh, father, they are too heavy, and I have my 
piano lesson "to study, and my French dancing-master will soon be 
here, and then I shall have to take my dancing lesson.” Mr. Blow- 
ha! d says : *• Piano fiddlesticks ! better learn to play on the wash¬ 

board; and as for dancing, you will learn that quick enough; so 1 am 
determined that vou shall practice your gymnastics before anything 
e'se. So 1 will go and get the clubs for you, and while you are 
using them, 1 will go and get my morning cup of coffee, and then 
come and see how you are getting along ; and he goes off and brings 
on two large Indian clubs, (the same as are used in a gymnasium) 
and says : “ There they are ; and now, Seraphina, just throw them 

around your head a while, and I will soon return.” Then he goes 
off at side. Seraphina tries to lift up the clubs, and says : I 

cannot do it. they are too heavy ; and I think papa is very unkind to 
expect me to practice with these heavy things. I am sure I am 
healthy enough without this nonsense. I only hope that my dear 
Charles will return from California with plenty of money, so that 
he can come and marry me, and then I am sure I will never touch 
these nasty clubs again.” She tries to use them, but cannot, and 
says : “ It’s no use, I cannot; so I will go down to the piano, and 

practice that love of a waltz I received the other day, and papa 
mav practice his old clubs by himself;” and she goes off the other 
side. Then Mr. Blowhard comes on from opposite, saying : “ Sera¬ 

phina, have you had a good exercise with the clubs? and looks 
round, but cannot see her, and says : “I suppose she has got tired 
and has gone to sit down. Oh, if these children only knew the 
benefits to be derived from muscular exercise they would not mind 
the slight exertion of swinging these clubs about for a few hours ; 
but I know it is the best thing they can do; so I will take my 
regular morning practice, and then go to my study, and attempt to 
discover how long it is possible for a man to stand on his head 
without getting water on the brain.” He takes up the clubs, and 
swings them vigorously around and over his head, and then puts 
them down, and says : “I will now go to my study, and practice 
my new feat, that will astonish the world, and eclipse the tame of 
the renowned Blondin. Ah! wonderful, fearless, intrepid Blondin, 


84 


SHADOW PANTOMIMES. 


the hero of Niagara Falls! How I long to see him come to this part 
of the country. I am so proud of him and his superior talents, 
that if he comes to this place he shall have a public welcome and 
have my Seraphina for his wife. And then I know that he will 
be an honor to our family, and that Seraphima will progress in her 
gymnastic exercises.” He then goes off, taking the clubs wit 1 a him, 
and Charles and his servant man, Dennis Murphy, both jump’ over 
the light, and Charles says : “ Yes, this is the very place where the 

old gentleman lives, so we must be very careful not to be discovered, 
for if we are all is lost, for I know that he will never give his con¬ 
sent to my marrying Seraphina, unless I can do the Eimpillczrosta- 
iwn feat, or risk my neck in trying to imitate Blondin on the tight¬ 
rope. Dennis says: “And is it the tight-rope he wants, sir? 
bedad I’m his man. I learnt the tight-rope from Prof. Burnham, 
and I’ll show him how I can do it, and marry his daughter for yez 
as well, sir, I will.” Charles says: “What do you mean, sir? 
You marry his daughter. I want you to know that she is betrothed 
to me, and will marry no other.” Dennis says: “I beg your 
pardon, sir. I didn’t mean it; I only meant that may be we might 
hoax the old man, and you could marry the daughter instead of me, 
d’ye mind ?” Charles says : “Ah, that is very different. Now you say 
that you have learnt the tight-rope.” Dennis says : “ Yes, sir’ee. 

I can walk it as graceful as an elephant —no, no, I mean as a fairy.” 
Charles says: “If that is the case, Dennis, I have a mind to try 
you, and see if you are telling me the truth.” Dennis says : “The 
truth is it? divil a word of a lie in it, at all, at all. Shure if 
ye’z stretch the rope tight enough, and give me one small glass of 
whiskey, I’ll walk from the ground to the top of the church steeple, 
and dance jigs all the ways coming back again. Shure have no 
fear of me, sir. When I was traveling as servant with the Pro¬ 
fessor, didn’t they call me on the bills Mons., what de’ye call ’em, 
from Paris, and all of Paris I ever see I could put in my eye, and 
see none the worse for it at all. But they all do it, and why shouldn’t 
I.? An Irishman is as clever as two Frenchmen any day in the week; 
so stretch up your rope, and chalk my feet. Ah ! ah ! it’s all in 
the chalk, d’ye mind; and you’ll soon see how I can walk it.” 
Charles says : “ Well, I will believe you, but if I catch you out in 

a falsehood I’ll break every bone in your ugly carcase; so pay 
attention and listen, and if I succeed in all my plans, I’ll give 
you a nice snug sum, and then set you up in any business you like. 
Now, my idea is to buy you a pair of false whiskers, and loan 
you a suit of tights, that I bought to attend the gymnasia, in 
order to become an athlete, but after falling and nearly breaking 
my nose, I concluded it was not my forte, and I never went again. 
I think the suit will just fit you, and disguised as you will be with 
the whiskers and the tights, I can readily call you and introduce 
you as the great Blondin, the hero of Niagara, to old Mr. Blowhard, 
and inform him that I am your agent, and I know that as soon as 
the old gent thinks he has the veritable Blondin in his house, he 
will relax his vigilant watch over his daughter, and I shall be able 


SHADOW PANTOMIMES. 


35 


to communicate with her, and inform her of my safe return ; then 
while the old gentleman is engaged with you, and pressing you 
to give him an exhibition of your talent, I and Seraphina will 
steal off to the justice’s court, get united in the holy bonds of wed¬ 
lock, and come back and claim the old man’s forgiveness, as he 
will be sure to be in a good humor as you are finishing your last 
grand feat, and then we will settle down, and you shall marry the 
girl you love, and you can remain with us if you wish, or we will 
set you up in business, as I said before ; so come along to my 
lodgings, and I will rig you out as Mons. Blondin. I see by the 
papers he is shortly to arrive here, and that will aid our schemes ; 
so come along,” and he jumps over the light. Dennis says : “ All 

right, sir*, only show me the house and 111 find the door myself. 
Three cheers for Frenchy Blondin, huroo !” and he jumps over the 
light. Then Mr. Blowhard enters from the side, with a large pair 
of spectacles on, and a newspaper in his hand, as if he is reading 
it; then he laughs, and exclaims : “Eureka! Eureka! at last! at 
last! Here’s a surprise, my wish is granted. I see by this week’s 
paper that the agent of the great, the wonderful Monsieur Blondin 
has arrived, and that he is making arrangements for his appearance 
in this part of the country, where he will arrive in a few days, 
and have the honor of appearing in some of his most startling 
feats, such as wheeling a man in a wheelbarrow, walking the rope 
in a sack, with his eyes blindfolded, and without a balance-pole; 
standing on his head, and walking on his hands, on the rope, a 
feat never before attempted; also, hanging by his left ear. and 
taking a table and chair on the rope, will perform the difficult and 
arduous task of eating his supper on the rope, with as much ease 
and nonchalance as if seated in his own or anybody else’s parlor.’ 
Then Mr. Blowhard exclaims : “ Wonderful! extraordinary ! mar¬ 

velous ! I only wish that he would arrive to-dav, so that 
Seraphina could see him. I am sure she would fall in love 
with him, and then I should have the pleasure of having a 
gymnastic son-in-law, and a gymnastic wedding. . A bright idea 
strikes me; he shall teach the parson and Seraphina to walk the 
rope, and then they s^all be married on the tight-rope, and my 
name will be handed down to posterity as the originator and 
inventor of the tight-rope wedding, ha! ha! ha!” and he laughs 
heartily. A bell rings outside, very loudly. Mr. Blowhard calls 
out: “ John, open the gate, will you ? I declare I am so nervous 

with expectation that I hardly know whether I am standing on iny 
head or my heels.” Then Charles jumps over the light. He is 
dressed in a large dressing-gown, and a smoking-cap, with a large 
tassel, and has a riding-whip in his hand, and talks to Mr. Blow¬ 
hard in broken French or Dutch, and says : “ Gomme vous porte 

vous, weiaatz: good morning, Mons. Blower. I have ze letter of ze 
recommendation to you, in behalf of the great, ze wonderful, das 
extraordinary Signor Blondin, the first and only acknowledged pro¬ 
fessor of ze tight-rope, who made the perilous ascension across the 
Falls of Niagare ; and on the conclusion of his grand performance, 


39 


SHADOW PANTOMIMES. 


he walked across, and finished by coming hack, and coiled the rope 
up after him as he walked his narrow pathway'. I have the honor 
to be bis agent, and am now looking out for a suitable place for 
him to show his wonderful anility, as he will arrive to-day by the 
Yiudcrnround route, and will be prepared to execute any and all 
of bis wonderful feats, in which he challenges the world to compete 
witu him.” Mr. Blowhard shakes hands with him, and says : ‘‘My 
dear sir, I am proud and happy to meet you. and welcome you as 
the agent of the great Monsieur Blondin, and beg to tender you 
the use of my grounds for his grand exhibition, and a 1 so to tender 
to him, through you, the hospitalities of my house, which I hope 
he will make his home during his stay in these parts. As I happen 
to have a large rope. I will immediately have it stretched and put 
up ready for the Professor’s performance, so that there may be no 
dt.lav; so I will instantly go and see about it. Ah. here comes my 
daughter; I "ill introduce you to her, and you will greatly oblige 
me if you will explain to her the many advantages to be obtained 
from a thorough course of gymnastic training, and also explain to 
her the merits of the great Monsieur Blondin.” Charles says : “ Mr. 
Blowhard, I shall only be too happy to explain to her the many 
advantages that she will gain by listening to your sensible advice, 
and I feel sure of her strict attention to what I shall say, as soon 
as she is acquainted with me and finds out who I am.” Seraphina 
enters from the side, and Mr. Blowhaid says: “Seraphina, my 
'aughter this gentleman is the agent of the renowned Monsieur 
B'ondin. the great tighc-rope artist, and I hope you will pay parti¬ 
cular attention to wlmt he says to yon. and put in practice all he 
tells y«>u to do. I will now leave you together, and get the servants 
to prepare for the reception of the renowned artist;” he bows, and 
goes off Charles looks at Seraphina, and says to her : “ Seraphina, 

d<> you not know me?” She looks up to him, and exclaims: 
“Chailes!” and throws herself in his arms, and they embrace, 
and she says : “When did you return?” Charles says: “I only 
arrived a few days ago from California, accompanied by ray faithful 
servant, one Dennis Murphy by name, one of the smartest and 
q b/kest willed men you have ever seen, which I think you will 
-ay as s oh as you know all. I am also happy to ted you that I 
havf been very lucky in my venture in California, and return home 
with my fortune made; so now we can get married and settle down 
without delay, a* I feel sure of being able to procure you father’s 
consent, to our union ” Seraphina says: “ Oh, Charles, you know 
that my lather has said I should never marry any one but a gym¬ 
nastic Professor, ami I do so fear that he will never give his consent 
in our union.” Charles says : “ But you heard what your father 

said just now, that you were to do whatever 1 told you to do, 
and 1 say that you are instantly to prepare to marry me; so you 
see 1 have y*»ur father’s consent already. But as you are in a little 
doubt, I will infoi m you how I mean to gain his consent. You 
know that it has been your father’s ambition for many years to 
see and entertain the great Blondin, the hero, as he is called, of 


SHADOW PANTOMIMES, 


87 


Niagara Falls, and as I see by the papers that he proposes visiting 
these parts shortly, I planned a little surprise and deception for 
him with the aid of my servant, who, I told you, is able to do 
almost anything, and can perform on the tight-rope almost as good 
as Blondin himself—at leat he tells me so—so I have procured him 
a good disguise, and he will shortly arrive here as the great Blondin, 
and to carry out the joke, I am here acting as agent for him, and 
when he arrives, and is going through his performance, you and 
I .will slip off together, get married, and before he concludes his 
exhibition, and while your father is in a good temper, we will return, 
and, on our knees, ask his forgiveness for the deception practiced 
on him, and I feel sure of obtaining it," Seraphina says : “ My 

dear Charles, you know that I am yours only, and I will trust you, 
although I do not like to even seem to aid you in deceiving my 
goo I, kind, indulgent papa, but I will trust to your ability to be 
able to gain his forgiveness, and then we shall both be so happy; 
so I will hurry away and make all preparations; so good bye for 
the present," and they embrace, and she runs off. Charles sings : 
“Huzza, she’s mine, tolde rol, &c." Dennis jumps over the light in 
his performing costume, and slaps Charles on the back, and says ; 
“ How are ye boss ? how do I look in my fleshings? Ain’t that an 
illegant figure ?" and he turns himself round for his inspection. 
Charles looks at him in astonishment, and says : “You look the 
perfection of muscular agility and grace, but for mercy sake drop 
that ho'vible brogue of yours, and remember you are now a French¬ 
man, and must talk French." Dennis says - “ And is it French I’m 

to talk ! be jab* rs I’ll do that same aisv enough.” Charles says : “I 
am afraid you will, and rather too aisy as you say—no, you must 
not say a word oidy ‘ oui ’ whenever you are spoken to by any one; 
now do not forget, for I see the old gent coming up the garden walk, 
with the servants and the rope they are going to fix up for you; 
so remember, ouly 'oui.'" Dennis says: “All right, sir; never 
fear .me, I can say it; we! we! we!" Mr. Blowhard enters, and 
bows to Charles, who introduces him to Dennis in this way: 
“ Mr. Blowhard, allow me to introduce you to Mons. Blondin; 
Blowhard, Blondin, Blondin, Blowhard." Mr. Blowhard shakes 
Dennis by the hand very vigorously, and says: “ Sir. I am 
pr >ud and happy to see you. and hope that you will not 
take cold in that summer suit of yours." Dennis (forgetting his 
character) says : “ Take cowld !” then recollects, anti stops himself 
talking, and bows very extravagantly, and says: “ We, we, we.” 
Chailes says: “ You must excuse him ; he has not quite learned 
ze English language yet, but as he travels along he will learn by 
degrees ’’ Mr. Blowhard says : “Certainly ; no apology, no apology. 
Now, my T dear sir, if you will come with me to the parlor, and take 
a glass of my old French wine, while the servants are putting up 
the rope, I shall feel very proud." Denuis is very pleased, and rubs 
his stomach, and says : “ Ow, ow, ah, we, we ;” and he and Mr. 
Blowhard go off arm in arm. Charles laughs very heartily at them, 
when Seraphina enters with her bonnet and shawl on, and a small 


38 


SHADOW PANTOMIMES. 


bundle in her hand, and says: “Dear Charles, lam ready.” He 
throws off his dressing-gown and cap, and takes her hand, and they 
both jump over the light; then four servants (men) come in, two 
from each side, and raise up the plank from the floor, and set it on 
the two stools, and go along by it, and make a noise as if they were 
pulling the rope tight, and attempt to carry out the idea of its being 
a rope as nearly as possible as the action will suggest ; then some 
one says : “ Chalk the rope and one of the servants gets a large, 
irregular block of wood, or half a brick will do, and walks along as 
if rubbing chalk on the rope, and then the servants stand at each 
side, for spectators, and Mr. Blowhard and Dennis enter. Mr. Blow- 
hard says: “ Ladies and gentlemen, allow me to introduce to your 
notice the great and renowned Monsieur Blondin, who will perform 
some extraordinary feats on the tight rope you now see, at a 
lofty elevation, from which, if he was to fall, he would be dashed 
into a million pieces, and you could all gather some of them to save 
as curiosities ; but have no fear, ladies and gentlemen ; he is as 
sure-footed as the goat on his native hills ; and"without any further 
preliminaries he will now exhibit to you all his big feat.” Dennis 
comes to the center and bows extravagantly, and then goes off at 
the side the plank is lowest, and gets his pole and gets on the plank 
and walks out slowly to the center, and acts as if he was very 
frightened, his knees and limbs trembling, &c. ; all applaud very 
loudly. He stops and calls out: “ Sthop your noise, ye hlackgards, 
and come and chalk my feetthen he recollects his assumed char¬ 
acter, and walks back to the side, so that he is in sight on the 
plank, and bows and calls out: “ We, we, we. chalke. chalk’ee 
foots and holds up one foot. Blowhard is rather bewildered at 
first on hearing him talk Irish, but recovers himself, and calls out : 
“John, chalk the professor’s feet.” John, a servant, with the 
imitation piece of chalk, goes to Dennis and rubs it on his feet, when 
Dennis takes it frona him and rubs it on his own feet, then on the 
pole, and then on his head, and finally throws it at the servant 
who, in trying to catch it, falls as if it knocked him down • then 
Blowhard applauds, and exclaims : “ Wonderful! most wonderful!” 
and all applaud. Then Dennis runs out on the plank, and dances 
backwards and forwards, and then sits down in the center, and 
bows, and they all applaud. He gets up and walks backwards, and 
then gives his pole to servant, and then walks and dances without 
the pole, and comes back, and they give him a small wheelbarrow 
and as he is prepared to start, Mr. Blowhard says : ‘ * Monsieur 
Blondin offers to carry any gentleman across the rope in the wheel¬ 
barrow that will volunteer to go with him. As no one offers, Dennis 
bows, and wheels the barrow very slowly up the plank, and then 
the same backwards, then runs up and down it very quickly 
and finally puts the barrow on his shoulder, and runs up and down 
the plank, and gives the barrow to a servant, and then bows and 
they all applaud. Then servant gives him a handkerchief which 
he folds up and binds over his eyes, being careful to leave one open 
so that he can see ; then motions in pantomime that he cannot see • 


SHADOW PANTOMIMES. 


39 


then they give him a common muslin bag, which he puts over his 
head, and it has two holes for him to put his arms through, which 
he does, and then walks very carefully along, and makes several 
false steps, with ope foot off at the side of the plank, as if he could 
not feel bis way, and was going to tumble. Mr. Blowhard motions 
as if he was afraid he was going to fall, and holds up his hands as 
if prepared to catch him, if he should make a miss step. Then 
Dennis recovers himself, and goes slowly along to the other end ; 
then in coming back makes several feints of stumbling and falling, 
then he runs up and down and dances, and they all applaud ; and 
he comes back, and throws off the sack and the handkerchief, 
and bows to the spectators. Then one of the servants gives him a 
little short-tailed Irish coat and an old felt hat, and a short pipe 
and a shillelagh, and he puts them on, to look like an Irishman ; 
then the music can strike up an Irish jig, and Dennis goes, out and 
dances in the center, as fast as he can ; all applaud, and Mr. Blow- 
hard exclaims: “Wonderful! here, Seraphina, come and see!” 
As he calls out, Seraphina and Charles come on and kneel to him, 
and show him a large paper with seals attached to it, to represent a 
marriage certificate, and in expressive action indicate they have just 
been married, and ask for his forgiveness. Blowhard gets enraged, 
and pulls his hair with both his hands, and starts back, and says : 
“You here, Charles, and married to my daughter! I’ve been 
swindled, cheated, humbugged! You shall never have my forgive¬ 
ness ; and as for you, Seraphina, I will cut you off with a shilling, 
and never more own. you as a daughter of mine ! Go ! go ! with 
your swindling husband!’’ Dennis on the rope has stopped and 
watched this scene with evident enjoyment, and laughs heartily ; 
but when Mr. Blowhard looks up to him he dances away more 
vigorously than ever. Mr. Blowhard looks at him, and says to 
Charles: “Then, I suppose this Frenchman, Monsieur Blondin, 
that you are agent for, is another fraud on my good nature. I am 
a good mind to have you both horsewhipped on the spot.’’ Charles 
says : “ No, sir, the Monsieur Blondin you see here is an Irishman, 
my servant, Dennis Murphy, at your service.” Mr. Blowhard is 
astonished, and says : “At my service ! I would not have such a 
pascal in my employ!” Dennis says: “Hah! hah! and do yez 
think I’d engage the likes of ye for a master ? No, no, old Blow- 
bags, I wouldn’t.” All laugh at him, and Mr. Blowhard says: 
“ I’ve been swindled, but I’ll punish you every one. Get out of my 
sight, every one of you and he runs off in a rage. All laugh. 
Then Dennis jumps off the plank, and wishes his master joy, and a 
large family of small children, and all the people shake hands with 
them, and the servants pull the stools away, and let the plank fall 
on to the ground flat. Then Dennis says : “ Let’s all have a dance, 
boys.” Then, while they are all dancing to the Irish jig, Mr. 
Blowhard runs in with his two Indian clubs, and beats them all, and 
they jump over the light, Dennis the"last one. Mr. Blowhard hits 
him and he jumps over, then he swings his clubs round and round 
his head in triumph, and jumps over the light at the same time. 


40 


SHADOW PANTOMIMES. 


THE MUFFIN MATCH ; OR, THE GAME OF BASE-BALL. 

Properties required. —Two regular base-ball clubs, and one made in 
imitation, to be padded very nicely, so that it will not hurt a person 
when struck with it ; a large, hollow, India-rubber ball, such as is 
used for the game of foot-ball ; a book and pencil for the referee ; 
a loosely-stuffed figure of a man in base-ball costume, so that the 
figure can be thrown about, and doubled all up, and carried off by a 
man ; a live chicken. 

This extraordinary match (not) for the championship of this state 
is played by the nines of the Atlantic and Pacific Ocean Clubs, both 
of New Jersey, (as the whole nine could not be seen at once on the 
sheet, you will please suppose that the others are in their respec¬ 
tive positions, such as right, left, and center fields,) and is com¬ 
menced by about four or five men or boys jumping over the light, 
alternately, after each other, and standing in groups, some with 
bats, and one with the large ball, which he amuses himself with, by 
throwing it up and catching it several times during the conversa¬ 
tion. Then one of them who is a good talker, and who is to act 
as referee, says : “ Well, boys, here we are at the grounds, and as 

it is a fine day, and the field is in fine condition, I hope to see you 
play the finest game of the season. Remember the eyes of the 
whole base-ball fraternity are upon you, and it is expected you will 
score the best game of the season. Now, as the nines of each club 
are present, I propose that you choose, by the number of cents I 
have in my hand, who shall have the first innings. Now, one from 
each club, guess, odd or even, and the one guessing right, the club 
he represents shall take first inning.” He then holds out his hand 
and two step forward and guess, one of them saying even and the 
other odd. Then the first speaker says : “ The odds have it. Now 
I will act as referee, and decide the game on its merits, and I hope 
there will be no quarreling in this game, such as there has been in 
nearly all the match games this season. Now, proceed with the 
game ; gentlemen in the field please take their positions.” Then 
some go off. Then man with ball stands on one side, and shows 
the ball, and says: “ I am the pitcher.” Then a man with a bat 
stands on other side, and shows his bat, and says : ” It is my firit 
strike.” Then a man comes forward at the back of striker, and says : 
“I am the short stop.” Then they take their positions across the 
sheet, and the referee goes off at one side, and calls: “ Play.” 
Theu the pitcher throws the ball, and the striker hits at it, but 
misses it, and the referee calls out: “ Strike.” Then the short stop 
throws ball to batter again, who moves on one side, and the short 
stop runs in to catch it, and the ball hits him in the stomach, and 
he falls flat on his back. Referee calls out: “ Short stop.” Then 
the pitcher and striker lift him up by his head and his heels (he 
keeping very stiff all the time), and they jump over the light wiili 
him. As they go, the referee calls out: “ Another victim to the base¬ 
ball mania.” A man jumps over the light, and says : “I will take 
his place ;” and he goes to it. Then the pitcher and striker jump 


SHADOW PANTOMIMES. 


41 


Lack over the light, and go to their positions, and referee says : 
‘ Play " r J'he pitcher throws the hall, and the striker hits it and 
knocks it over the lL-ht, and he drops his bat and runs off. and 
pitcher jumps up and around, calling out: “ Send in that ball,” &c. 
Then striker comes back, and referee calls out : ‘‘ Home run ;’’ and 
ball is thrown over the light to pitcher. Another stiiker takes his 
position, and the pitcher throws the ball, and hits the striker full 
in the face with it. At the same time a person back of light throws 
alive chicken over, and the referee calls out: “ Foul ball.’’ Then 
some of players catch chicken and take it off. Then pitcher throws 
again, and batter knocks it over the light, and runs off at opposite 
side. Then there is a good deal of calling out and running, when 
the person back of light who has caught the ball must throw it up 
over the light, and the pitcher catches it, and the referee calls out: 

Out on the fly,” and says: “ Next innings.” Men cheer, talk, &c., 
and change about., as new side take their places, and then commence 
to play. The pitcher throws ball and batter misses it. ; short stop 
catches it and throws it to pitcher ; referee calls : “ One strike” 
Then pitcher throws the ball, and it hits the striker’s legs, and he 
tumbles forward over it on to the floor, lieferee says: “That’s a 
daisy cutter ; he falls like the leaves fall ” Then the striker gets tip 
ready to play, and stands in position; then the pitcher throws the 
ball, and be bits it and knocks it over the light, and person at 
back of light catches it. Then striker runs off on opposite side ; 
the ball is thrown to pitcher, who throws it off after striker, and 
all cry: “ Out but the referee says: 4 ‘ Second base—play” An¬ 
other stiiker takes his position, and pitcher throws the ball, and 
the striker hits it and it goes over the light, and must he caught by 
somebody at hack ; and the referee calls out: “ That's a sky-scraper” 
and the previous striker runs in, and the last striker runs off and 
back again, as if he had ran to the bases; and the referee says: 
“ Two home.” The ball is now thrown to pitcher, and a person 
takes his position as striker, and then pitcher throws hall, and 
striker hits it and knocks the ball over the light, and he runs off 
on opposite side. Then the person hack of light who has caught the 
hall passes it over the light into the hands of the pitcher, and referee 
says: “ Passed ball and then the striker runs in from opposite 
side, and tries to run to home base, but the pitcher throws the ball 
at him and hits him on the back of the head with it, and he stum¬ 
bles and falls beyond the sheet. The referee calls: ‘ ‘ Struck out !” 
The men say : “ No, sir, it is not fair ; we will not play.” Then 
all come in and quarrel about the laws of base-ball, &c., each party 
taking sides, and arguing they are right and the others are wrong ; 
and in the midst of a war of words the referee jumps in amongst 
them and says : “I’m the referee, and I must be obeyed.” Then 
some one hits him on the head with the hall ; then he turns round 
and seizes the stuffed bat, and heats them all over the light; then, 
as he turns and laughs, one of the men comes back and fights with 
him, and struggles off, and then comes on with the dummy figure, 
and throws it down, and doubles it up, and puts it under his arm, 
and then jumps over the light. 


42 


SHADOW PANTOMIMES. 


REGULAR HASH ; OR, THE BOARDING-HOUSE CONSPIRACY. 

The properties used in this comical thrust at our home (?) insti¬ 
tutions, are : A table and chair; a table-cloth; two plates; knives 
and forks; a tin pail, with some pudding in it to represent hash, 
(farina pudding or jelly will be best, as it can be eaten readily;) a 
large ladle or iron spoon to be in the tin pail, to be used in putting 
the pudding on the plate; three or four brooms; a live kitten, and 
a large live cat; cane for Doctor, &c. 

When all is ready, and the light well on4he sheet, let three or four 
men come on, part from each side; then one says: “This is the 
place of meeting,” and another says: “And this the hour we 
were to meet.” Another says: “We are here, but where is 
our worthy president?” Then a very lean specimen of a man 
jumps over the light, and in a hollow voice says : “I am here, 
brothers in distress, I greet you; you have unanimously chosen me 
to be your president and spokesman, and by my order we have 
convened here to requite our wrongs, for that we are wronged you 
all can testify to, can you not?” They all say: “We can! we 
can!” President says: “I knew you could; here we are, all 
boarders at Mrs. Stintem’s boarding-house, paying her the extra¬ 
ordinary sum of three dollars per week for board, lodging, gas and 
fire, and what do we get for it? Do we get good rooms? No!” 
All say : “No!” He says : “No, we do not; we are placed two in a 
bed, and four in a room, which is an outrage of itself. Gentlemen, 
I say an outrage !” All echo : “An outrage !” He says : “Do 
we get gas? No!” All say : “No!” He says: “ No ! only small 
coal-oil lamps, that are warranted to burn only long enough to let 
you get partially disrobed, and then go out, and leave you in dark¬ 
ness, and consequently we have to get into bed in the dark, and 
that is the reason we make mistakes, and sometimes get into the 
wrong beds, and not, as Mrs. Stintem says, because we are the worse 
for liquor. This is another outrage. ’ ’ All say : “ Another outrage. ’' 
He says : “ Do we get fires ? No!” All say : “No!” He says : 

“ Certainly not; only the fire in the kitchen grate, that is used to 
cook our food, which our landlady says is enough to warm the house, 
and which I contend, and you all agree, is not enough to even warm 
the kitchen; this I say is another outrage. What do you say, my 
companions in misery ?” All say : “ Another outrage !” He says : 
“Now we come to the grand swindle of all, that is our food, which 
consists of a regular bill of fare, which I will enumerate to you : 
For breakfast, weak tea and hash ! (all groan) for dinner, hash and 
weak tea! (all groan) for supper, tea and cold hash ! (all groan) 
this is the greatest outrage of all.” All say : “ The greatest out¬ 

rage ! He says: “Not alone is it an outrage, but which of you 
knows of what the hash is composed? Not one of you! for on 
different days have each one of you found some different ingredient 
compounded with his hash, that it would puzzle the ablest impeach¬ 
ment lawyer to decide what it is made of. One day our worthy 
brother Grizzle found the remains of an old broom mixed with his 


SHADOW PANTOMIMES. 


43 


portion of hash, and our brother Dobson found what, to him, looked 
like a rat’s tail, in his portion of the savory viand, and other things 
have been found that it is not well for our hungry stomachs to men¬ 
tion. We have all tried to find out when, where, and how it is 
made, but up to the present moment none of us have been able to 
solve the problem. Still, I will ask you all once more; have any 
of you discovered anything new ?” Then one of them steps forward, 
and says : “ I have a secret to impart. Let all be silent. Yester¬ 

day while I was watching and trying to find out how our hash was 
made, I discovered (all listen ), what looked to me like the remains 
of Mrs. Stintem’s big Thomas cat, which we have all remarked has 
disappeared very mysteriously. I made an excuse for entering the 
kitchen, and then I asked Mrs. Stintem what it was on the table, 
and she had the effrontery to tell me that it was a rabbit that was 
made a present to her, and that we were to have it for dinner to¬ 
day. Now, I for one do not believe her, and have made up my mind 
that when I come home to dinner and we should have hash (for a 
change) that I will not eat it; what say you all They all say : 
“We agree with you ” Then the president says : “I have a plan 
to propose, and all must agree to be in the conspiracy. Will you be 
guided by me?” All say: “We will!” He says: “Then, in 
the first place, if the article that our brother saw yesterday on the 
kitchen table was a rabbit, it will be served to us as a rabbit, but if 
it was the cat, as we suspect, it will be served to us in our regular 
hash, so we all agree not to eat, but wait until we discover what it 
is, and then, if our suspicions are founded upon the right, -we will 
capture Mrs. Stintem and severely punish her, and then make her 
eat the whole allowance of hash that she prepares and serves up 
to the boarders; do you all agree ?” All say : “ We do.” “ Now 

affirm it by holding up your hands.” They do so. He says : “It 
is well. Now disperse to your rooms, as I think I hear the voice 
of our landlady approaching,” and they all go off at the sides. 
Then the landlady comes on from the other side, and sets on a 
table and chair on one side near sheet, puts cloth on table, then 
fetches on plates, and a large tin pail of pudding of some sort that 
can be eaten readily, (and to represent the hash) a large spoon in 
pail; and when she gets all ready, she says : “ Well, if ever there 

was a poor lone widow that’s pestered to death, it’s me. Here have 
I had seven servant girls within the last three days, and every one 
of them has left, because I do not give out the hard work, and keep 
a woman to do the odd jobs at home, and because they can’t have 
every other day off to go and see their cousins; and now I’m deter¬ 
mined to do the work myself, and by that means I shall save more 
money, and be able to retire the sooner. Then them boarders of 
mine are the most cantankerous set you ever laid your blessed eyes 
on; they are never satisfied with the food they get. I think that 
some of them want chickens, game, and all the delicacies of the 
season, and all for their paltry three dollars per week; but they may 
want, for they won’t get any out of me. I give them good, solid 
and substantial hash for every meal, and them as don’t like it can 


44 


SHADOW PANTOMIMES. 


leave it. They say they don’t know how it’s made—it’s none of 
their business.' I make it, and I’ve sot to make money by it, and I 
mean to do so. I shall soon be able to build me a nice country 
mansion with the money I am making out of hash, and then I shall 
be respected for my money; so I don’t mind how I am abused now. 
Well, here’s their dinner all ready and getting cold, and none of 
them come yet. That’s always the case; if I am a little late, then 
they all come trooping in, and say they are in the greatest hurry in 
the"world. Then the next day, if I get dinner earlier, they all come 
in late, aud drop in one by one. Oh ! I do wish they would come. 
I've got the nicest dinner to-day they ever had, and now none of them 
will come until it is cold. Well, it will serve them right, and make 
them more punctual the next time. Ah! there goes the door; 
that’s Mr. Skinflint; I hate him; he always wants to know how I 
make my hash.” The president comes in from the side, and savs : 

“ Well, Mrs Stintem, what have you got for dinner to-day ?” She 
curtseys, and says : “ Some very nice hash.” He throws up his 

hands in horror, and exclaims “ Hash !” and jumps over the light. 
She looks after him, and says : “ Well, did you ever ?” Then Mr. 

Dobson enters from side, and says : “ Good day, Mrs. S intern. 

What have we got for dinner to-day?” She says : “ Some very 

nice hash.” Ho throws up his arms, exclaims, “Hash!” puts his 
fingers to his nose, and jumps over the light. Then Mr. Grizzle 
enters, and says : “ How do you do, Mrs. Stintem ? Have you got 

a nice dinner to-day?” She says; “ Yes, sir; I’ve got some very 
nice hash.” He throws up his hands in terror, and says : “ Hash !” 

shakes his head, and says : “ No you don’t,” and jumps over the 

light. She says: “I am astonished.” Then another boarder 
comes in, and says : “ Well, Mrs. Stintem, what have you got for 

dinner to day?” She says: “I have got some rabbit hash.” 
He whistles, and says: “Rabbit hash! Pussy hash, you mean. 
Meow, wow,” making a noise like a cat, and jumps over the light. 
She says : “ Well, was there ever such impudence?” Then a very 

stout boarder comes on, and says : “ Ah ! Mrs. Stintem, I see the 

dinner is ready. What have you got good to-day?” She says, 
very sharply, “Hash!” He rubs his hands, and then bis stomach, 
and says : “That’s the stuff for me,” and he sits down, and she 
laddies him some of the pudding from the pail into his plate, and 
he eats ravenously, and gets up satisfied, and she says : “As the 
other boarders don’t want any dinner, I’ll remove the table,” and 
she goes off with the table. Then the fat boarder says : “Well, 
I’ve enjoyed my dinner very much. The other boarders tried to 
frighten me, and told me not to eat hash to-day, as the great Thomas 
cat of Mrs. Stintem was missing, but they couldn’t frighten me; 
oh, no. I like the hash to-day; it has a better flavor, and I feel much 
better after it. In fact, I feel as—” he puts his hand to his stomach 
as if it aches, then feels better, and walks across and back, then 
claps his hands to his stomach, and again says : “I feel, oh, dear ! 
as if ten thousand cats were clawing at my internal fixtures. Oh, 
dear! oh, dear!” and accompanies it with various extravagant 


SHADOW PANTOMIMES. 


45 


x 


gestures of pain in the stomach, and calls ont, “ Help !” Then two 
of the otner boarders jump over the light, and ask him. “ What 
is the matter?” He can only say : “ Oh. dear! hash and ci ips 

liis hands to his stomach, and walks about. One of the boarders 
tells the other to run for a doctor, he nods all right, ami jumps <<ver 
the light. Then the other boarder sits the fat man in the cha r. 
and tries to hold him down in the chair, but he keeps jumping up 
and crying out : “ Oh, dear ! oh, dear !” Then the doctor jurn >s 

over the light, and stands and contemplates the patient. Then wi’ih 
a great deal of pompous preparation looks at the patient’s tongue, 
feels his pulse, listens to his stomach, then sits him down in the 
chair, ami tells the other boarder to hold him very tight; then he 
takes off his coat, and rolls up his shirt sleeve, the patient kicking 
and wondering what the doctor is about to do. Then the doctor, 
alter several grotesque flourishes, seizes him by the hair, and puts 
his arm at the back of his head or the side, so the shadow will look 
as if the doctor had his arm down the patient’s throat. Then he 
works his arm about as if feeling inside; then stands off and slowly 
pulls his arm away, and he is holding a small live kitten, which he 
has pulled from the sleeve of the man who is holding the patient’s 
head, and the doctor pulls it from beside the patient’s head, so as 
to look in the shadow as if he pulled it from the patient’s mouth, 
then lets it go, and the kitten runs off. Then the patient squirms 
about again, and motions pain. Then the doctor feeds down his 
throat again, and expresses wonder at what he has caught. Then 
he pulls out a large cat from the side of the patient’s face, (that is 
away from the audience, and it will look as if he pulled it from his 
mouth) and holds it up in wonder. Then he lets the cat run. Then 
the patient gets up and feels better. Then the doctor asks for his 
fee, but both the boarders say they have no money, and cannot pty 
him. He says they are swindlers, and he will go for police. 
As he turns both men kick him, and he jumps over the light. The 
two boarders laugh at him. Then the other boarders come on, and 
one says: “Our jury find Mrs. Stintem guilty of treason to our 
stomachs and well being, and each and all bind ourselves to carry 
out the sentence of the court. Ah ! she comes ! Away !” Then 
they all jump over the light. Then Mrs. Stintem comes on, and 
says : “I thought I heard some one call. I must have been 
mistaken. Now I must prepare myself to go to the bank. I shall 
not need any more from the market, as the hash that was left at 
dinner will be very nice for supper when it is cold, and I am deter¬ 
mined they shall eat it every bit up before I get any fresh.” Then 
the boarders all jump over the light, and beat her with brooms and 
brushes, &c., and seize her and place her in the chair, and then one 
of them says: “Listen, Mrs. Stintem. Our conspiracy has con¬ 
demned you to eat all the hash that was left at dinner time, and 
hope that it will be a warning and lesson to you, and hope in 
future you will change our diet at least twice a week. Let the 
sentence proceed.” Then one holds her, and one goes for the pail 
of hash, and one feeds her with the spoon with it, she eating 


46 


SHADOW PANTOMIMES. 


it, and trying to talk, but they force it down. her throat, and she 
talks as if she was choking. Then they all laugh, and turn the 
pail over, and show it is empty. Then they put it over her head, 
and let her go. She gets up and tries to hit or kick them, and they, 
to avoid her, jump over the light, and she pursues them with the 
pail still over her head. 


HERCULES ; OK, THE MECHANICAL STATUE. 

The accessories needed to render this performance complete are, 
a pedestal or raised platform, about four feet long and two feet 
wide, and six inches high in front, and at the back about two inches 
high, with four flat trunk castors on the bottom, and a rope attached 
to it to pull it on, with a man on it. A large club for statue. A 
round profile globe, about two feet six inches in diameter, for Atlas. 
A Roman sword, shield, and helmet. A Jew nose and beard for 
Charles, and a snuff-box for Fuzby. A large sledge-hammer and a 
crow-bar can both be made of wood. Letter for Charles. 

This comical pantomimic farce is commenced by Charles and Tim 
jumping over the light. Tim says : “ No, sir, I won’t do it. I tell 
you it’s no use.” Charles says : “ Why, you are vanquished by one 
little rebuff.” Tim says : “Little rebuff! didn’t I don the petti¬ 
coats and a coal-scuttle bonnet, and shave off my handsome whis¬ 
kers, and try to get into old Mr. Granite’s house to give your letter 
to his daughter, because he has forbidden you to go near her ? And 
wasn’t I discovered, laughed at, and nearly beaten to death?” 
Charles says: “ Come, come, never despair ; you thought to jfass 
for an old woman, and hadn’t the wit to act up to the part, and so 
effected ho entry into the old sculptor’s house.” Tim says : “ Oh, 
yes, sir ; I effected the entry, and old Mr. Granite effected the eject¬ 
ment, by kicking me out.” Charles says: “No matter; Laura 
must have my letter, must be my wife, in defiance of her cross old 
guardian. Tim, I have a thought. Listen ; it was your clothes 
that betrayed you the last time.” Tim says : “ True, sir, true ; I 
fell a victim to my wardrobe ; many a great man has had the like 
disaster.” Charles says: “Well, now, you shall have no clothes 
at all.” Tim says : “Sir!” Charles says : “ I’m serious ; I mean 
you shall see my charming girl, and be a statue all the time.” Tim 
says : “ Impossible, sir, quite impossible ; I couldn’t stand it ; I 

know I couldn’t.” Charles says: “Nonsense; lean get you a 
dress, and old Granite is sand blind, and”—Tim says : “He ought 
to be stone blind not to tell the difference between a man and a 
statue ; but pray, sir, if I am to be a sculpturesque, what is it to 
be? What marble character am I td act? Is it Cupid? No; 
Cupid was a boy ; but no lady objects to Cupid on an enlarged scale. 
Cupid and his bow and arrows—this way (imitating the position)-. 
Yes, sir, I must be Cupid. I have a very pretty dimple on my 



SHADOW PANTOMIMES. 


4 ) 


cheek—that’s half the battle.” Charles says: “Cupid will never 
do ; let me see—you shall go as Hercules.” Tim says : “ Hercules ! 
Sir, I feel the compliment, but I’m not the size; take me out of 
my stockings, and I’m but five feet three, and I can’t stretch my¬ 
self into a hero of seven feet high ; ’twon’t do, sir ; ’tisn’t the size 
of a pocket Hercules.” Charles says: “Yes, Hercules with his 
club ; and I will aid you, disguised as the great statue repairer, Mr. 
Isaacs, the Jew ; so I shall dress you as the statue, get you into the 
house, leave you in the studio, where you must take advantage of 
your situation, give this letter to Laura, and keep the old man 
engaged, while she and I run off to be married.” Tim says : “ And 
the reward, sir ?” Charles says : “A hundred dollars, if I succeed.” 
Tim says : “I take your money, sir. A hundred dollars for rising 
to a giant! I can’t refuse it, when so many giants have shrunk 
into dwarfs for half the money (recollecting his size). But no, sir, 
the joke’s too plain; ’twill never do! Though Granite is a fool, 
he’s not such a fool as—” Charles says : “Well, then, you give up 
the hundred dollars?” Tim says: “ lam desperate, and a hun¬ 
dred dollars will be a balm to my agitated soul; and so, so, sir, I 
will, despite my inches, be Hercules, the king of clubs.” Charles 
says: “Then follow me, and dress for the part,” and he jumps 
over the light. Tim says : “Dress! he means undress. The part! 

I wish it was to talk, instead of being looked at. Well, with all 
his labors, Hercules hadn’t as much labor in being Hercules as I 
shall have in imitating him.” Laughs at himself, and jumps over 
the light. Laura enters from the side, as if she had been weeping, 
and says: “Another day has passed, and still no news of my be¬ 
loved Charles. And to be thus persecuted by that odious Mr. 
Granite, my guardian, who is continually asking me to marry him ; 
but I shall never love any but Charles Oh, love ! love ! what a 
mischievous rogue art thou !” Then Charles enters over the light, 
and says: “Laura! (they embrace). The happiest accident! Passing 
the house, I saw your jailer leave it ; have hither flown to tell you 
of my plan, the rarest, the most ingenious, boldest device that 
ever”—Mrs. Rams calls on the outside: “Laura!” Laura says: 
“My mamma! We are lost! Fly, or you will be discovered.” 
Charles says : “That way is impossible ; that leads to your cham¬ 
ber.” Looks off R. H., says: “Ha! this closet,” and runs off. 
Laura says : “No, no, not there; you will be discovered there.” 
Mrs. Rams enters, says : “ Now, Laura, why do you go moping and 
drooping about like a veeping villow, when you know I want to 
talk to you about your prospects with Mr. Granite ?” Laura says : 
“ My prospects ?” Mrs. Rams says: “Hasn’t he a perquisite col¬ 
lection of statues ? and if he really resists in his attentions to you, 
who knows what may be the consequence ?’ ’ Laura says : ‘ ‘ Mamma, 
I’m astonished at your wishes!” Mrs. Rams says: “Nonsense, 
child !” It would be my pride to see you mistress of all them there 
statues. Look at that dear little Cupid ! I have sanguinary expec¬ 
tations it will one day be yours.” Laura says: “Never, I hope, 
mamma. Mr. Granite is old enough to be my father ; besides, I 


48 


SHADOW PAKTOMIirES. 


have no wbh to step in between yon and him. Mrs Earns says. 

Kidiculous, child ! I tell yon it is you he loves to extraction ; he 
told me so when we were in Italy, and burnt Bast lies. I remember 
t',e time veil ; it was at his villa, vhen it was so hot that we were 
obliged to shep in the open air, beneath a marquis.’ Laura says: 

“ Marquee, you mean, ma a marquee.” Mrs. Earns says: “ Well, 
von know what I mean, so where’s the use of disposing me. But, 
iv 1 was saving, if von will onlv take Mr. Granite, he is ready to 
setfe a handsome fortune on you. and to give me a bonassu* of 
five thousand dollars into the bargain. Only think of that! NV by, 
it would enable you to have a comparisoned hoise to rme upon, 
air. Granite enters, and says : “ Now. my dear Iks Laura, have 

y<-u made lip your mind to accept my offer ?’ Mrs. Earns says : I 

have demonstrated with her on the folly of dejecting the proposi¬ 
tion vou have done us the honor to make ; hut I am sorry to say 
she is still hankeiing after her dear Charles, as she calls him. 
Mr Granite says: “You see, ma’am, this comes of your telling 
that spark, that sprig of lavender, that you would consider of his 
offer ” Mrs. Earns says : “ But I am now dissolved, ami so. Laura, 
once for all I tell you”— I-aura says : “That you are willing to 
accept Chailes for your son-in-law, dear, good mamma! Mrs. 
Earns says : “No; to deny him the house altogether. Grande 
says • “The fool came into my store, and laid out fifty dollars in 
Cupids and such like. (Laughs ) Ha ! ha ! lia ! he may come upon 
the same terms as often as he pleases ; it. will all go towards the 
general stock when we are married, you duck. (Laughs.) Ha ! ha. 
Laura says : “ You goose,” and cries. Mrs. Earns says : “ Why, I 
declare, the silly girl is veeping !” Granite says: “ Let her ; it is 
quite refreshing to see real grief. I like to copy from nature ; if 
she’ll only stand in that position five hours, I’ll fetch a block of 
marble, and cut an original Niobe.” Tom enters, and Laura pouts, 
and she and her mother go off at side. Granite says: “Now, 
Tommy, have vou been to the dealer?” Tom says: “Yes, sir, 
hut he warn’t at home. They said, sir, that they’d send the statue 
of Hercules almost directly.” Granite says : “ Did you see it, Tom ? 
is it well repaired?” Tom says: “No, sir, I didn’t see it; but 
I’m told they’ve made a capital job of it.” Granite says “ Well, 
when Mr. Fuzby comes, show him to me, for I haven’t seen him 
yet. The fact is, Tom, he’s a fool, and knows nothing of the arts, 
and the statue his man has sold me is very cheap. But let me know 
the moment he arrives, and see that the Hercules is carefully placed 
in my studio.” Charles, showing himself on one side, says : “ Now, 
then” for Mr. Isaacs, and my Hercules,” and he jumps over the 
light. Granite says : ‘ Tom. has any one been here during my ab¬ 
sence ?” Tom says : “ The agent, sir, for his four statues.” Granite 
says ; “ And not one have I obtained ! What did you tell him ?” 
Tom says : “ Why, I made him believe that you had them all in 

your studio, and that you were so particular that you vvouldu t let 
your work be seen when it was only half done. Granite cays: 
“ Very right; 'twas so with Michael Angelo.” Tom says : “He 


SHADOW PANTOMIMES. 


49 


said if he couldn’t have them all to-night that he’d withdraw his 
commission, and ruin you outright.” Granite says : “And if he 
should, I’m ruined completely. (A loud knocking is heard). Run, 
Tom, run ! It may be him ; if so, mind I’m not at home.” Tom 
says : “ Yes, sir, I’ll say you say I’m to say you are not at home.” 
He runs off. Granite says: “I do hope it is not him.” Tom 
enters, says: “Oh, sir, sir! he’s come!” Granite says : “Con¬ 
fusion!” Tom says: “And it’s so beautifully done'!” Granite 
says: “ Why, what are you talking about?” Tom says : “The 
Hercules, sir ; it’s come.” Granite says : “I’m really glad; you 
go help get it up stairs.” Tom goes off to help. Granite, looking 
off, says : “ Take care there—take care ! it’s a most delicate thing, 
though it is a Hercules. (A noise outside.) Mind his nose against 
the wall ! I wouldn’t have his nose hurt for the nose of Ctesar !” 
Then Tom pulls the statue in on the pedestal, and Charles helps 
him. Charles, disguised as the Jew dealer, says : “ Mind—mind, 
ma tears! Dere he is ; see how very beautiful he looks.” Points 
to Tim as the statue. Granite rubs his hands very pleased, and 
calls: “ Mrs. Rams ! Laura! come and see the Hercules. (They 
enter.) Look, madam ! See what a noble attitude ! what a face, 
serene in conscious strength! Bless me, Mrs. Rams, what’s the 
matter ?” Mrs. Rams (sighing) : “It’s very foolish to give way to 
such weakness ; but, as he stands, he is So like my late husband, 
he seems as if he were come back again.” Granite says : “ Then 

I don’t wonder at your agitation. Let me put on my spectacles. 
(Does so.) Isn’t it beautiful! A real antique! The moderns 
can do nothing like that. (To Charles.) Your name, sir, is?”— 
Charles says: “Isaacs Solomons Israel Emanuel Levy Nathan 
Jacobs, at your service, ma tear. I’ve mended hish leg, and brought 
home te goots. ’Tish a fine antique relic, ma tear.” Mrs. Rams 
says : “ That it is, a fine antic relish !” Charles says : “ Now, ma 
tear, it ish petter as new.” Granite says : “You have done the 
job well, humph ! very well ; and there’s the ten dollars” (gives it.) 
Charles says : “ You ought to give me twelve ; it cost me as moch, 
as I’m a sinner, and hope to be shaved ; (to her) didn’t it, ma tear ?” 
Mrs. Rams (aside) says : “ The imperence of some people is abomin¬ 
able.” Tim sneezes, coughs, &c , which Charles has to imitate, to 
deceive them. Charles says, going and looking at Laura : “ Pless 
ma heart! vat is here ? ish dat a statue ? vat sail I give you for it ? 
You sell—I’ll pay, old gentleman.” Mrs. Rams, indignantly, says : 
“Old gentleman! Is this your Hebrew breeding, you mendicant 
varlet, you ? Mr. Granite, do you allow him to result you in this 
way ?” Charles says : “ Beg pardon ; but that young lady is most 
beautiful. (To Granite) Your model for Venus, I suppose?” Mrs. 
Rams says: “No, fellow; I’m his model for Wenus.” Charles 
(laughing): “Ha! ha! ha!” Tim (laughing): “ Ha! ha! ha!” 
Charles checks Tim in this, and in every other instance when he is 
playing his pranks. Granite (to Charles) : “ Rascal, do you laugh 
at me to my very face?” Charles says: “Rascal! (laughs) 
ha! ha ! ha! You are de pleasantest old fellow dat ever I did 


SHADOW PANTOMIMES. 


60 


pusiness wid in all my life—surprising for your age ! 

. ;i \ _ . ‘i mric nnrw ? frn;iKinir (, larJeS). 


(Migrilv) 

.,f my hoi:st;. <>r 


^ ^ _ r _^ ^ Granit 

Where is my cane ? (chasing Charles). Get ou\ 
(as j)«* is passing iim strikes him with tin* club) 
murder! murder!’' Mrs. Saras'says: “What's the matter Mr. 
Granite ? you look pale.” Granite says : " I ve been struck bv an 

invisible hand in a most mysterious manner.” Charles (aside) says: 

“ Confound the fellow ! his tricks will spoil all. 1 had better be 
off ” Runs off at side. Laura says : “ Ah, you look quite alarmed, 
sir ; I declare, you tremble.” Granite says : “ Enough to make me. 
Didn’t you see that old clothes man affront me to my face, and bea. 
out my teeth behind my back? I’ll go and give information at 
the police station.” Laura says: “They cannot interfere, sir ; 
they did not see him do it.” Granite (calls) says : “Here, Tom! 
Harry ! Mary !” and runs off in a rage. Mrs. Rams says : “ Don t 
go dear Mr. Granite, and leave us with this great ugly statue ! 
Oh! oh! look at its eyes! I’ll not have such a thing near my 
apartment. Laura, my love, don’t he alarmed ; stay here, and I H 
send up the two apprentices, with a large sledge hammer, and they 
shall batter its head to pieces. (Calls)—Here, Tom ! Harry ! and 
she runs off. Tim, coming down from the pedestal, says : WeL, 
that's pleasant! Tjiick.ily the old fellow thinks master struck him ; 
when they meet they will have a jolly row, and I hope the best 
man will win. Now I must give this letter to Laura.” He goes up 
to her; she sees him and screams. Laura says : “A ghost! a 
ghost! help! help !” and faints in Tim’s arms. Tim says : “ Now 
I’ve done it; why, ’tis only I, miss-’tis only Tim ; confound your 
squalling ! it would serve you right if you never got a husband !” 
Granite (outside) says: “Hollo, there!” Tim says: “ Oh, the 
dickens ! here they come again !” He runs and jumps on the ped¬ 
estal, and, in the hurry, takes the club in his left hand, and changes 
his position. Granite enters hastily : “ What’s the matter? what’s 
the matter?” Laura (recovering) says: “Oh dear! oh dear! I 
was so alarmed—left alone, you know, sir, with that ugly figure; 
and when I looked, sir, I—I”— Granite says : “ Fie, miss ! you 

have betrayed yourself. You couldn’t look at the beautiful statue 
while your mother and I were in the room, hut must take a sly 
peep the moment our backs were turned ! (putting on his spectacles.) 
Well, I don’t wonder at it; ’tis a splendid specimen of the truly 
antique. (While he is looking, Tim takes off Granite’s wig.) Ah ! 
I declare, hewn out of solid stone ! Flesh and blood couldn’t look 
half so charming. (Tim laughs and rocks about.) But eh ?—what 
have you been doing, Laura ? The statue shakes ! and now I look 
at it again; the foot is brought too forward; the club, too, is in the 
left hand! (Turns to Laura.) Was that right? (Tim changes the 
club and stands right. Granite looks at him.) How stupid I am ! 
It is right enough!” Tom (enters) says: “Mr. Fuzby, sir, has 
come for his four statues, and he says he will see them immediately.” 
Tim throws the wig between Tom and Granite. Granite (to Tom) 
says : “ You rascal, how dare you take my wig off? (Beating him.) 
If ever you do so again—” Tom says : “I never touched your 


SHADOW PANTOMIMES. 


51 


wig. G-ranite says: “Don't lie, sir!" Tom says: “Why do 
you hit a poor boy like me ? Why don’t you beat a man of your 
own size ?” 'Granite says : “ Silence, sir ! Go and try to persuade 

Mr. Fuzby to call again.” Tom says : “ He says, sir, if he don’t see 
them now he’ll withdraw his custom.” Granite says: “Well, 
well, you stay here, and I will go and pacify Mr. Fuzby,” and he 
goes off. Tom, going up to Tim and shaking his fist at him, says : 
“Oh, my fine fellow ! Harry and I will soon smash your purty face! 
Missus has promised to reward us for it. Won’t it be fun ?” Then 
as he turns his back, Tim strikes him with his club. Tom roars out, 
and runs across. Laura rushes up and stands in attitude before Tim. 
Tom, staring at her in astonishment, says : “Were that you, Miss ?” 
Laura says : “ Touch it not at your peril!” Tom says : “ Oh ! 

I’ll go and tell Missus !” and runs off. Laura (to Tim as he descends 
from the pedestal) says: “Be quiet, or you’ll ruin all! Here 
comes Mr. Granite with Mr. Fuzby for his statues. Now, couldn’t 
you, Tim, contrive to represent them ? There are all the things 
quite ready to your hand.” Tim says : “ Well, Miss, to oblige 

you I’ll do almost anything.” Tim reascends the pedestal. Mr. 
Granite and Mr. Fuzby enter. Granite says: “This way, sir. 
I’ll explain. You see, my dear sir, you are so impatient; you 
mustn’t calculate upon a sculptor as you would upon a mason.” 
Fuzby says: “ The four statues, sir—are the four statues for my 
villa done ? are they done, sir ?” Granite says : “ Yes, sir; that is, 
sir—’ ’ Fuzby says : ‘ ‘ Then where are they, sir ?—if done where are 
they?” Granite says: “When I say done, I mean begun. I 
mean—” Fuzby says: “Very well, sir; I must have ocular 
demonstration. Unless I see the figures, I withdraw my order. In 
the first place, where, is my Ajax Defying the Thunder? Granite 
says : “ Mr. Fuzby, upon my honor, sir, the four statues are all 

but done; they are in the niches behind us; but I have a morbid 
dislike to exhibit a half-completed work.” Mr. Fuzby says : “I’ll 
bet you twenty dollars you don’t show me Ajax.” Granite says : 
(aside.) “What shall I do?” Tim looks at him, says: “Take 
it,” and puts himself in the position of Ajax. Granite, starting, 
says: “Murder!” Mr. Fuzby says: “Zounds! What’s the 
matter?” Granite says: “The statue!” Fuzby says: “What 
statue ?” Granite (pointing) say s: “There ! there !” Fuzby looks, 
y gives him a purse, says: “I beg your pardon; and there’s the 
twenty dollars.” Looking at Tim. “Splendid! beautiful! How 
life-like! Mrs. Bams, entering, says: “Oh, Mr. Granite! when 
did you do that?” Granite says: “ Upon my word I don’t know ! 

I’m in a maze !” Fuzby says : “Now for my Gladiator; can’t I 
see my Dying Gladiator?” Granite says : “Impossible.” Fuzby 
says : “ But I must see him.” Granite looks at Tim, says : “I 

don’t think it possible, but—” Tim nods assent, and Laura gives him 
the helmet, sword and shield, which Tim puts on, and assumes the 
position of the Dying Gladiator. “If you will have patience you 
can see it on the pedestal before you. Behold !” Fuzby looks, says : 
“Wonderful \ wonderful!” Mrs. Rams says : “ Well, I never saw 


52 


SHADOW PANTOMIMES. 


a dying alligator so life like before.” Fuzby, laughing, says : 
“ Not done, eh ? So you wanted to surprise me? Now, then, now 
for my Atlas Supporting the World.” Granite, looking at Tim, 
says : “ Let me see; can I show Atlas? Is it sufficiently forward ?” 

Tim says : “ All’s right,” and nods to him. Granite says : “Well, 

if you will insist, I will show you Atlas. Behold !” Tin? is holding 
the profile globe like Atlas. Fuzby looks, says: ‘‘Admirable! 
beautiful !” Mrs. Rams says : “ Is that Hatlas, the great map 

maker ? It’s very handsome; but why do you give him such a stoop 
in the shoulders?” Fuzby says : “ And now my last statue, and 

then the contract is fulfilled. Now for my Venus at the Bath.” 
Granite says: ‘‘To be sure, to be sure!” looking at Tim, who 
shakes his head in refusal. “Zounds! Why, the fact is, I assure 
you Venus is not very forward.” Mrs. Rams says : “ Now, for my 

part, I always thought her very forward indeed.” Laura gives Tim 
some drapery or a lace curtain. Granite says : “ You can’t see 

Venus.” Tim looks at him, and nods, says: “All’s right!” and 
takes his position with the drapery about him. Fuzbjr says : “ But 

I must; there’s but one more, and I must see that.” Granite says : 
“ Well, if you say you must, then behold your Venus !” Points to 
Tim. Fuzby looks hastily, says : “ That Venus!” Granite says : 

“ Perfect—a great improvement on the antique !” Fuzby says : 
“Well, Idon’tthink that'sso very happy; however, you have fulfilled 
the contract,” giving notes. “There’s the money—but I should 
like another peep; let me see them altogether.” Granite says : 
“ No, no; you shall have them home to-morrow.” Calls : “ ILre, 

Tom ! Harry! open the door.” He pushes Fuzby off. and goes off 
with him. Mrs. Rams says: “This is all remarkably strange! 
How did Mr. Granite obtain these statues ? There was not one here 
this morning; I saw none enter but Hercules, which was placed in 
the studio here.” She sees Tim moving and laughing at her; she 
screams: “A ghost! a spirit,” and runs off at the side. Tim, 
descending from pedestal and going to Laura, says : “ Now. Miss, 

I think it is our turn to escape; for if they find me out they will 
pound me in a mortar.” Laura says: “ But where is Charles all 
this while?” Tim says : “He is waiting at the confectioner’s 
round the street; doubtless he is eating ice cream, whilst I am to 
be beaten to a jelly; then I’ll scream too. The letter I gave you 
will tell you what to do.” Laura says : “I will but enter my 
room, and ere my jailer returns away and join him.” She runs 
off hastily. Tim says : “ Well, I’m in a pretty fix. I can’t go in 

the street in this condition; and so must wait until Charles comes to 
release me.” Tom (without) says : “ Come along, Harry. We’ll 

soon settle Master Hercules.” Tim, ascending the pedestal, says : 
“ Oh, you will, will you ? Not while I got this club to protect my¬ 
self.” (Enter Tom and Harry with a sledge-hammer and a crowbar.) 
Tom says: “Now, Harry, Missus says she’ll pay us well if we 
break him to pieces.” Harry says : “Oh, crikey, Tom! I’ll bet 
you two to one I fetches his noddle off at one blow with this here 
crowbar.” Tom says : “ Do; I means to have a fly at his pins. 


SHADOW PANTOMIMES. 


53 


“Oh, good gracious! won’t I split ’em!” Harry says: “ Here 
goes for a crack on his sconse !” They approach Tim, who knocks 
them down with his club. Tim descends from the pedestal, and moves 
forward to the statue music of Don Giovanni, and then he walks 
Tom to right and Harry to left, and he stands in center; music 
stops, and the clock strikes one. Harry says: “Oh. Lord, oh, 
dear! it has struck one.” Tim says : “Yes, and I’ll strike two.” 
He swings the club over his head and knocks them down on each 
side. Tom says: “Oh, goodness gracious! master has turned 
Frankenstien, and this is the monster he has created !” He shirts 
at them, and they get up and roar out, “ Murder ! murder !” as they 
run off on each side. Tim laughs and goes on the pedestal again as 
Hercules. Mr. Fuzbv and Granite enter. Mr. Fuzby says : “ What 
means all this confusion?—your doors open! the house haunted ! 
Where is the arch fiend?” Granite says: “Didn’t you see it? 
(Points over his back.) Didn’t you see it?” Fuzby says : “ See 

it!—see what?” Granite says : “The devil; he was here but just 
now.” Tim groans. “ Th^e’s an infernal groan! Do you see 
nothing now ?” Fuzby says : “ No—yes, I see your statue move.” 

Granite says: “Be careful Take care of him, of Hercules. 
Fuzby says: “Bless me! it must be a very great curiosity.” 
Granite says : “Yes, it is a great curiosity, a mechanical statue.” 
Fuzby, taking snuff, says: “Aye, moves on wires, I suppose ?” 
Tim leans over and takes a pinch of snuff and puts it up his nose, 
and then stands in attitude. “Dear me only think of the perfec¬ 
tion of human ingenuity !” Tim sneezes . “ Beautiful articulation 

of sound ! How nearly an approach to reality !” Tim jumps down. 
“ Actually made to move at discretion ! Excellently managed, and 
wonderfully contrived.” Tim walks Fuzby to one corner and 



Fig. 17 . 









64 


SHADOW PANTOMIMES. 


Granite to the other. Granite says (aside): “ ’Txs contrived by the 

devil for my destruction !” Fuzby (admiringly) says: ‘Magical 
perfection of art!” Tim kicks him. “Heyday! by all that s 
wicked, ’tis flesh and blood ! Call in the police ! Who are you ? 
Tim says: “Hercules, old buffer!” Granite (calling) . says : 
“Here Tom ! Harry ! where are you all?” Tim beats Granite and 
Fuzby’round the studio. Then re-enter Tom and Harry. Tim 
knocks them down. Then knocks Mr. Fuzby down, and stands over 
him in attitude with his club raised. [See Fig. 17.] Then re-enter 
Charles, Laura and Mrs. Hams. Tom and Harry sneak off if there is 
not room enough to show them. Charles says: “Hold, Tim ! spare 
poor Mr. Fuzby, you know he is my uncle.” Fuzby, rising in sur¬ 
prise, says: “ What! my nephew and Laura?” Mrs. Rams says: 
“ Yes; your nephew Charles here has married my daughter, in spite 
of the strong compunctions I laid upon her not to.do so.” Granite 
says: “ Ah, now I see it all ! (To Charles.) You are the rascal 
of a Jew.” Charles says, in his assumed voice: “ Yes, ma tear, I 
am.” Granite says: “ And your servant is—” Tim bows to him, 
and says: “Hercules, King'of Clubs.” Then Tim sings'to the 
tune of “ The Cure :” 

“Kind friends, pray give a smile so bright, 

And critics spare your rubs; 

Pray pardon all the faults to-night 
Of Tim, the King of Clubs.” 

Then all the characters sing the same and commence to jump a la 
Cure, and then each jumps over the light. Tim, the last one, keeps 
on jumping and singing, and finally jumps over the light. 


THE NEGRO MINSTRELS ; OR, THE AFRICAN SERENADERS. 

This can be made a very pleasing and laughable sketch if the 
intending performers can sing and play on different instruments, or 
a small band may be engaged, and the performers go through the 
action of playing, and all that is required is the instruments and four 
very common chairs, as small as possible. The performance will 
need to be rehearsed until the performers feel perfect and confident 
of success. It can be done almost ad libitum, the performer doing 
and saying just as he pleases to make up a good pleasing programme, 
and one that will harmonize with the performer’s abilities and tastes. 
I will just give a little sketch of a programme of the songs that 
might be sung, and also some stories or gags that might be told, 
laying no claim to originality or brilliance, but writing them just 
as they occur to my mind, and only offering this as a rule or guide 
to other programmes that the performers may select. In an ordi¬ 
nary sized parlor there will be only room for four performers on the 
stage, so that their shadows will show on the sheet. These can 
consist of a leader, with his violin, a flute-player, and a man with 



SHADOW PANTOMIMES. 


55 


the bones or clappers at one side, and a man with the tamborine at 
the other side. These last two are called the end men, and the 
jokes they tell are called by them gags. The leader can act as the 
middle man or interlocutor, and th.e other instruments, composing 
the band, can be placed back of the light, or on each side, where 
they will not be seen. The performers must sit sideways to the 
light, or in profile, and so that their shadows can all be seen as if 
in a line or half circle. It will be well to observe the diagram. 
[See Fig. 18.] The performers need not black their faces, as the 


SHEET. 


TAMBORINE. 


o 

BONES. 


o 

FLUTE. 


VIOLIN. 


o 

LIGHT. 


o o o o 
OTHER INSTRUMENTS. 


o 

W 

w 

I—I 

* 

cc 

I 

g 

tel 

i 

H 

02 


Mg. 18. 

shadows will show black; but they will require to wear large bushy 
negro wigs, and comical looking collars, dress-coats, &c. It can be 
commenced by their walking in, and taking their places by their 
chairs: then the man with the tamborine gives it a rap, and all bow, 
and then sit down, the end man sa 3 dng: “ Good evening, white 

folks.” The leader says: “ We will now commence the evening’s 
entertainment with the grand introductory overture to Martha” or 
to “Tancredi,” after which he says: “Well, Mr. Bones, and how do 
you feel this evening?” He says: “Well, Sam, I feel putty 
scrumptious.” Then the leader says: “And Mr. Tamborine how 
is it with you, sir?” He says: “I feel bully.” Leader says: 
“ Now, we’ll have the opening chorus, ‘ Hail Smiling Morn,’ ” or 
“ Down the River,” after which the leader says: “Well, Bones, 
where were you going when I saw you this afternoon?” Bones 
laughs, and says: “Did you see me?” Leader says: “Of course 
I did; you had a young lady on your arm.” Bones says: “ Did 
you see that piece of calico ? Ain’t she some, eh? I was going to 
get married to that girl, only for one little accident.” Leader says: 
“Why, what was the accident?” Bones says: “Well, you see, 
Sam, when I was courting her, I thought I’d like to make her a 
very nice present; so I went to the store, and I bought her the nicest 




56 


SHADOW PANTOMIMES. 


little present you ever see. Can you guess what it was?” Leader 
says: “A gold chain.” Bones says: “No.” Flutes says: “A 
bracelet.” Bones says: “No.” Tamborine says: “I know—a 
plate of hash.” Bones says: “ Ain’t you smart. No. gentlemen, 
it was neither of those, it was a beautiful little kitten cat.” Leader 
says: “Well, that was a very nice present, especially if the lady 
was fond of pets.” Bones says: “ Of course she was. Wasn’t she 
fond of me?” All laugh. “Well, sir, I took her the little cat, 
with a nice red ribbon round its neck, and she was so pleaded, she 
took the <$,t and hugge1 it, and I thought she was going to eat it; so 
I called again in a few days, and she says to me, says she : 
“ Augustus ”—that’s my name—“ I’ve christened the cat, and given 
it such a pretty name. I’ve called it Julia;” at that I busted out 
laughing, and I have been laughing ever since.” Leader says: “ I 
don’t see what there is to laugh at. I’m sure Julia is a very nice 
name for a cat.” Then Bones says: “ That's what she said; but — 
ba! ha! ha!—I couldn't stop laughing. Leader says: “Why should 
you laugh?” Bones says: “The idea of calling that cat Julia.” 
Leader says: “ Well, sir, why shouldn’t they call that cat Julia?” 
Bones says: “ Because he wasn’t that kind of a cat.” All laugh. 
Then leader says: “ Now, Mr. Bones, you can sing your favorite 
song.” Then Bones sings, “ I’d Choose to be a Baby,” with chorus 
and musical accompaniment. After wjiich the leader says to Tambo¬ 
rine: “ Tambo, I hear you have been in the army.” Tambo says: 
“Yes, sir, I was in all the great battles.” Leader says: “ What 
regiment did you belong to ?” Tambo says: “ The forty-eleventh— 
the last in the field and the first out of it.” Leader says: “ Were 
you ever wounded ?” Tambo says: “ Yes, sir; I was always in the 
fight, where the balls were the thickest—under the ammunition 
wagon—that’s where I was wounded.” Leader says: “ Wounded ! 
and how ?” Tambo says: “ I was kicked by a mule.” AH laugh. 
He says: “ You needn’t laugh. At the battle of Chickamauga seven 
balls peirced this manly bosom.” Leader says: “Seven balls! 
what, cannon-balls ?” Tambo says: “No.” Leader says: “Musket- 
balls?” Tambo says: “No.” Leader says: “Rifle-balls?” Tambo 
says: “No.” Leader says: “Then what kind of balls were they ?” 
Tambo says: “Codfish-balls.” All laugh. And he saj's: “And 
I could stand as many again.” Leader says: “ Now we’ll have 
the song, ‘ Annie Laurie.’ ” This can be sung by the leader or a 
voice outside, the performers on the stage accompanying it with 
their music. After which the leader says: “ Bones, I think I heard 
you say once that you were in the late war ?” Bones says: “ Yes, 
sir, I was dar.” Leader says: “ What regiment were you with ?” 
Bones says: “ I was with the five hundred and ninth, where the 
colored troops fought nobly.” Leader says: “Well, what noble 
or brave action did y u ever do?” Bones says: “ What did I ever 
do ! why, I made a whole%egiment run !” Leader says: “ What! 
made a whole regiment run? Why, sir, how did you, one single 
soldier, make a whole regiment run?” Bones says: “ Why, I ran 
away, and they all ran after me.” Leader laughs, and says : 


SHADOW PANTOMIMES. 


57 


“Was that the only brave action you ever done?” Bones says: 
“No, sir’ee; once, when I was out as a scout, I came across three 
of our enemeses.” Leader says: “Hold up, Bones, enemies you 
mean.” Bones says: “No I don’t; I mean enemeses I know 
what I mean.” Leader says: “No, sir; there is no such word; 
you must say enemies if there were more than one.” Bones says: 
“Now look here, if there is one you say enemy, don’t you?’’ 
Leader says: “ Yes." Bones says: “ And if there is two, you say 
enemies, don’t you?’’ Leader says: “Yes." Bones says: “Well, 
then if there is three, you must say enemeses." All laugh. “ Well, 
sir, as l was saying, I met these three enemeses, and drawing my 
sword quickly from the scabbard I cut off their legs off." Leader 
says: “Cut their legs off! why didn’t you cut their heads off?" 
“ Bones says: “Some one had been there before and saved me the 
trouble." All laugh. Leader says: “ Now, Mr. Tambo, we’ll have 
a comic song from you, called * Matilda Baker.’ ” Tambo then sings 
the song, with chorus and musical accompaniment. After which 
leader says: “ Tambo, I understand you are a very good scholar." 
Tambo says: “Yes, sir; ask me something hard." Leader says: 
“ Well, sir, can you tell me what is a focus ?" Tambo says: “ Oh, 
ask me something hard, anybody knows that." Leader says: 
“ Well, sir, if you know what a focus is, please to tell the ladies and 
gentlemen." Tambo says: “ Why a focus is a—is a—place where 
they raise calves" Leader laughs and says: “ Raise calves ! non¬ 
sense ! I thought you didn’t know. No, sir; a focus is a place 
where the rays meet." Tambo says: “ Well, ain’t calves meat ?" 
Leader laughs, and says: “Well, you are right in your way." 
Tambo says: “ When my teacher heard me give that answer he 
squoze my hand." Leader says: “ You’re wrong; he squeezed 
your hand you mean." Tambo says: “No, sir; he squoze my 
hand I mean, and I’ll prove it.” Leader says: “ Well, sir, how 
will you prove it?” Tambo says: “Well, sir, don’t you say, 
when you are talking of the grammar of rising up in the morning, 
rise, rose, risen?" Leader says: “Yes." Tambo says: “Well, 
haven’t I got a right to say, squeeze, squoze and squizen ?’’ All 
laugh. Leader says: “ Now we’ll have the Sleigh-ride Song and 
chorus.” Each end man sings a verse, and all join in for the 
chorus. Use sleigh-bells for the jingling, and common torpedoes 
for the imitation of the whip-cracking. After which Bones says: 
“ I don’t like sleigh-riding, it’s too cold. Give me a nice comforta¬ 
ble seat in the cars. What do you say boys ? let’s all take a trip on 
the cars to Philadelphia?" Leader and others say: “All right. 
All aboard the cars.” Then the music strikes up the Railroad 
Gallop, with imitations of the bell for the start. Conductor sings 
out, all aboard, whistle blows, and an imitation of the cars in 
motion is made by rubbing a piece of iron on a piece of sheet-iron 
to the motion of the engine. The men on stage lean back in their 
chairs, as if asleep, and rock about as if by the motion of the cars. 
Then the conductor comes in with his lantern and takes the tickets. 
Then all sleep and rock about again harder than before. Whistle 


68 


SHADOW PANTOMIMES. 


sounds, gong strikes, and noise of an explosion, and all the passengers 
tumble over their chairs, and some one puts something in front of 
light and takes the light off sheet. Then all get up and move their 
chairs and go back of light; then move screen from light; then let 
the passengers jump over light and fall down promiscuously on top 
of one another; then put out the light. 


THE CHAMPIONSHIP MATCH ; OR, THE MODEL PRIZE FIGHT. 

This requires the following properties : A pair of boxing-gloves ; 
two large quart bottles ; two large sponges ; and regular prize-ring 
costume for the two principals. 

I do not wish to be thought an advocate for introducing the prize¬ 
ring into the parlor, or of having fathers, sons, and brothers prac¬ 
ticing how they can pummel each other about, with the intention 
of aspiring to the chief honors of the prize-ring, or magic circle, as 
it is sometimes called ; hut there is so much humor in the follow¬ 
ing sketch, that the temptation was too great to resist, and then 
such ridiculous antics can be indulged in, that will convulse your 
audience with laughter, and, I hope, obtain a pardon for me for 
introducing a subject that many might object to. This can be 
commenced by having the four corner pieces of pasteboard on the 
sheet, in order to make the circle or moon, the same as in the 
Madcap Barber, or the Amputation Extraordinary, which you can 
refer to for explanation; and when the sheet is properly illumin¬ 
ated, let one of the principals and his second jump over the light, 
and stand near the sheet; then the second slaps the other one on 
the back, and says : “ Well, we are here first ; that is one point 
gained. The stringent laws against prize-fighting in the United 
States have driven the boys off, until now they have not a place 
there where they can amuse themselves in the manly art of self- 
defense ; but, luckily, when your match was made, I bethought me 
of this place, where there are no such laws, and where people can 
do and talk as they please ; so here we are in the moon, with the 
man in the moon’s permission, and we can fight it out here without 
interruption. What says my manly, muscular friend ? are you 
ready?” Then principal says: “Yes, sir,” and throws himself 
into various fighting attitudes. “ I only wish he was here now ; 
I’d show him how I’d pummel him to a jelly. Oh, wheie is he ? 
why don’t he come?” and he jumps about and gets excited, and 
throws himself into all sorts of positions, wants to fight his second, 
&c. Then his second says: “ You want to see your antagonist 
very bad, do you ? Well, you will soon have your wish gratified, 
for there he comes down the hill over there. Look !” and he points 
off at right side. Principal says : “ Where is he? where is he?” 

His second points over to the right side. Then principal says : 
“ Let me go and get at him,” and he goes over to the right side ; 



SHADOW PANTOMIMES. 


69 


then he turns and walks off the other way, saying : “ Where is he ? 
where is he ?” His second calls out : “ Here ! you are going the 
wrong way. Come back ! Not that way ! not that way !” and he 
runs off after him. Then the other principal and his second enter 
(to make a distinction now I will call these gentlemen fighter No. 
2 and second No. 2, the others by No. 1) by jumping over the light, 
and crying out: “ Huzza ! we are here first ; we have got them 

scared,” and both laugh very heartily. Then fighter No. 2 throws 
himself into various fighting positions and attitudes, and says : 
“ For the last three weeks I have been studying 4 Boxing Made 
Easy,’ and 4 Owen Swift on the Manly Art of Self-Defense,’ and I 
have got it all so perfect, and with the assistance you have given 
me in my training, that I feel in perfect health and strength, and 
able to wrest the belt from forty such fellows as him who challenged 
me. Oh, I only wish he was here now ; I’d soon cook his mutton 
for him.” Second No. 2 says : 44 Well, we have arrived here first, 
and the time is nearly up, and if your opponent does not arrive at 
the stipulated time, I shall claim the stakes without a fight, only 
that would be too bad to have to go home without the satisfaction 
of a little set-to.” Fighter No. 2 says : 44 No, sir, not if I know it. 
I came here to fight—I want to fight—I must fight somebody. 
Why, I’m spoiling for a fight, and if he don’t come I’ll fight you, 
or any one else that will step into the magic circle.” And he throws 
himself into all sorts of fighting attitudes. Second No. 2 says : 
44 Well, I’m glad you are so anxious to fight; for, look there ! 
(points off left) there is your opponent coming on like mad, and 
vengeance in his eyes, and looks for all the world as if he would 
crush any one that opposes him.” Fighter No. 2 says : “Is he 
coming ? where ? where is he ? Let me get at him ! I can’t wait ; 
let me tear him to pieces ! I’ll go and meet him half way.” And 
he walks over to the side that second No. 2 pointed, then makes a 
quick turn, and goes off the other side running, and saying : 44 Let 
me get at him!” Second No. 2 says (calling after him: “No! 
no ! here, come back ! not that way,” and he runs after him. Then 
fighter No. 1 runs in, followed by his second, and says: 44 Where 
is he? I have been looking all about here, and can’t find him. 
I’ll make him suffer for this. Oh, only wait till I get hold of him, 
won’t I pummel him?” Then he thfows himself into various 
attitudes, striK.es out, and jumps about as if he was fighting. Then 
second No. 1 says (aside): 44 I’ll fool him this time.” Then to 
fighter No. 1 he says: “Look, there he is now; go for him.” 
Then fighter No. 1 goes to the side that he pointed, and then turns 
and goes off the other way, when he meets fighter No. 2 coming 
on; both the fighters go to run away, but their seconds catch them 
and stop them from running off, and tell them that time is up, and 
they must fight. Both appear a little frightened when the seconds 
call out time, and they both walk to the center and shake hands, 
(they have the boxing-gloves on.) Then fighter No. 1 hits the 
fighter No. 2 in the face, and he goes crying to his second, and 
says: 44 That was not fair, he hit me first before I was ready.” 


60 


(SHADOW PANTOMIMES. 


Second No. 1 calls first blood ! Fighter No. 1 struts about as if he 
was pleased at his success, and second applauds him and calls out 
time. The two fighters walk to the center and commence to spar 
with their hands, and jump away from any intended blows. Then 
fighter No 2 hits fighter No. 1 a good blow in the head and knocks 
him down, and he feels very proud, and struts about, and imitates 
a rooster crowing, in token of triumph. Second No. 2 calls: “First 
knock down !” Fighter No. 1 gets up by the aid of his second, and 
rubs his eye, and the second sponges him down, and gives him to 
drink from a bottle, which he takes eagerly; then pours some from 
the bottle into his hand and rubs it on his eye. Fighter No. 2. seeing 
the other getting refreshments, asks his second to give him a little of 
that eye-water. His second laughs, and gets a bottle, and sets him 
on his knee and gives him the bottle, and he drinks out of it, and 
says he feels much better. Then second No. 2 stands him up ready, 
and then calls time. Then the two fighters advance to the center, 
and keep on sparring, without any attempt to hit each other, and 
as soon as one makes an attempt to give a blow, the other jumps 
back out of reach, and dodges and strikes around as if fighting with 
his antagonist. Then, after a pause, each looking at the other, 
and sparring a little bit, they advance cautiously to the center, 
and after making two or three blows at each other, they clinch 
together, and then pummel each other, and fall down and roll over, 
and then get up, when fighter No. 1 pushes fighter No. 2 away from 
him, then hits him a powerful looking blow in the stomach and 
knocks him down, and his second comes to him and picks him up 
and carries him to his own side, and gives him the bottle to drink 
as he sits on his knee; he drinks from the bottle and recovers a 
little, then drinks again, and rubs his stomach with the bottle. 
Fighter No. 1 goes and sits on his second’s knee, and laughs very 
loudly and heartily, and asks, “ How’s that? That was a socdola- 
ger !’’ and laughs again, and says : “ I’ve got him scared now. I 

don’t think he wilTwant much more of that sort, eh ?” Then the 
second offers him a bottle, and he drinks. Then the seconds, with 
the large sponges, wipe the men’s faces and rub their bodies down. 
Then stand them up, and push tjiem to the center anil call time. 
The men advance, and after some cautious sparring, and jumping 
away on the part of each one as the other makes a blow or feint, 
they close together and have a regular scuffle; towards the end they 
seem to get tired and weak, and stop, stand up and push the other 
off. and each man hits his opponent a blow in the head at the same 
time and they both stagger and fall back in the arms of their seconds, 
as if they had fainted. The seconds take the fighters on each site, 
and give them drink from the bottles and sponge them down and 
try to make them stand up on their feet, but the men seem too 
weak, and fall all loosely on the floor. The seconds pick them up 
again and hold them up on their feet, and then call time. The men 
on hearing it revive a bit, and the seconds push the men up together 
in center, and leave them; they both stagger about as if intoxi¬ 
cated, and try to make feeble blows at each other, and keep putting 


8HAD0W PANTOMIMES, 


61 


their fists softly in the other’s face. Then they push each other 
away and stand apart, and let their hands fall by their sides, as if 
they were too weak to strike, and try to steady themselves from 
falling. Then they look up, and each blow at the other with his 
mouth, and both fall back on the floor. Then the seconds each pick 
up their men, and when they get them up the fighters eact\ recover 
quickly, and then turn and commence to beat and pummel their 
seconds. Then after a time, each one hits his friend or second a 
severe blow behind and knocks him over the light. Then the two 
fighters look up, and both burst out laughing, look at each other a 
few seconds, then advance with their hands extended, and they shake 
hauds and embrace; then turn and take arms and walk across as if 
they were talking very confidentially together, when some one 
outside calls out loudly, “Police!” and they both get to center, 
and both jump over the light at the same time, and still arm in 
arm. 


THE MAGIC CASK; OR, THE INDUSTRIOUS AND IDLE 

APPRENTICE. 

The properties required for this laughable comic pantomime are: 
a table and chair; a large plate full of small pieces of bread, about 
an inch square; a small flour barrel, and a larger barrel with one of 
the heads out and a very large bung-hole; it must be a very light 
barrel so a man inside can walk about with it on his head (if boys 
do this a flour barrel will be large enough for the large barrel); two 
wooden mallets, and two pieces of wood, made like the irons that 
coopers use for knocking the iron-hoops down on barrels (these we 
will cajl wedges); a short candle and candle-stick, and some sticks; 
a bottle. 

AT. B. —Each performer should have his own hook for any of these per¬ 
formances , so that the parts may be studied at home. 

This is commenced by what theatrical artists call a discovery; 
that is, that when the doors are opened, or when the light is thrown 
or reflected on the sheet, the performers that are required on the 
stage are s**en or discovered there as in a picture—thus : The chair 
and table are near the center, and the large barrel is on the right 
hand side, and the smaller one is on the left hand side; the clown, 
who is the idle apprentice, is asleep, standing beside and leaning on 
the large barrel; Humpy, a deformed hunchback, is hard at work 
on the small barrel—he is the industrious apprentice, and the favorite 
of the old man, who wishes him to marry his daughter, but she 
objects to him on account of his deformity, and because sne is in love 
with the handsome young man who lives close by, and comes to see 
her as soon as he watches the old man leave the house on business. 
To commence, Humpy is working hard and knocking’on his wedge 
as if he was knocking the hoops down upon the barrel; then he 



G2 


SHADOW PANTOMIMES. 


pauses for an instant to wipe the perspiration from his brow, and, 
looking up, he sees the clown on the other side, leaning on the 
barrel and fast asleep. He then goes over to him and taps him on 
the shoulder and wakes him up, and in action, tells him to go to work, 
as the old man will soon be here, and will beat him if he has not 
done enough work. The clown yawns, and tells him to go and do 
his own work and mind his own business, and leave him alone, and 
that he doesn’t care, he does too much work for the pay he gets. 
Humpy goes to work on his barrel, and clown laughs at him, and 
motions he is not so foolish as to work hard; then yawns and goes 
to sleep. By this time Humpy has worked once round his barrel, 
and motions that clown has gone to sleep again, and he will go and 
tell the old man of it, and he steps lightly off to the side, and comes 
hack with the old man following him, and points to the clown 
asleep. The old man looks at the clown very angrily, and motions 
to Humpy to go on with his work. He does so, chuckling to him¬ 
self that clown will get a beating from old man. Then old man 
goes over to clown and looks at him closely and motions he is 
asleep—gets angry and slaps the clown on the shoulder, who, being 
suddenly woke up, commences to work very vigorously, and in 
striking the mallet about at random he hits the old man with it in 
the stomach, and he motions pain, and threatens the clown, who 
then apologizes to him, and the old man motions him to go to work. 
He does so, and the old man goes and sits at the table as if in very 
great pain. As soon as his back is turned clown laughs at the old 
man and imitates him, and walks very lazily round the barrel. 
Then looks over and sees Humpy, and motions it was him went and 
told the old man. He then looks over and accuses him of it. 
Humpy nods his head, and motions he did, and will always tell 
when he does not do his work. At this the clown gets angry and 
shows his mallet and runs to hit Humpy just as the old man is 
coming to speak to Humpy, and clown, in mistake, hits old man on 
the head and knocks him down; then runs over to his work very 
frightened. Humpy picks up the old man and puts him in the 
chair, And old man rubs his head and threatens clown, and says he 
shall not have any supper. Then clown cries and old man tells him 
to wcrk. He does so, but keeps on threatening Humpy, who is 
working on the other side. Then old man motions them to stop 
their quarreling and go to work. Then old man sits to table and 
claps his hands, and calls. Then his daughter Lena enters, and in 
action asks what he wants; he tells her to go off and prepare the 
supper and bring it on. She bows and goes off. Clown sees her and 
throws kisses to her as she goes off, over the old man’s shoulder, 
which the old man hears, and raises up to see what it is, and clown 
throws a kiss right to old man’s face. He then slaps clown’s face 
and kicks him, and sends him to work. He goes to work, and 
Humpy laughs at him; he threatens him. Lena enters, and 
seeing him, holds up her finger to Lim, and he stops and throws 
kisses to her. Old man looks up, and clown, seeing him, goes to work 
very briskly. She puts a large plate of pieces of bread on the table, 


SHADOW PANTOMIMES. 


63 


and also a bottle, and then she goes off. Old man calls Humpy 
and gives him some of the bread, and motions he may go off and 
sleep, as he has been very good, and pats his head. Humpy goes 
off, and old man calls clown up, and he comes to the table quickly 
and takes np the bottle to drink, when the old man takes it from 
him, and motion it is for me. Clown motions he wants a drink. 
Old man motions him to go off to the pump and drink water. 
Clown motions he don’t like it, and wants something to eat. Old 
man gives him one of the pieces of bread, which clown holds up 
between his thumb and finger and looks at it, shades his eyes, &c., 
then throws up the bread like a ball and hits it with his mallet and 
knocks it over the light, and presses in his stomach, then reluctantly 
goes to work. Old man eats as much of the bread as he conveniently 
can, and leaves a few pieces on the dish, then rubs his stomach as 
if he felt very much refreshed, and goes over to the small barrel 
and takes up the mallet and wedge used by Humpy and commences 
to work on the barrel. As he works around, clown runs to the table 
and steals a piece of bread, and puts it in his mouth and runs back 
to his work laughing and eating, and as the old man works round 
again, clown again goes to the table, but as he goes he keeps beating 
on the wedge in his hand, and as he goes to take bread with one hand 
he beats on the table with his mallet, and takes bread and puts 
several pieces in his mouth, and goes back to his barrel, hitting on 
the wedge all the time. Old man is working round and sees clown 
walking from the table and eating; he suspects clown of stealing, 
and he motions he will watch him. He goes to work again. Clown 
looks over and laughs, and goes to table again, and is about taking 
bread, when old man goes up and hits on the table with the mallet, 
near to clown’s fingers. He jumps about, shakes his hand and puts 
his finger in his mouth and motions pain. Old man sends him to 
work again, and he moves the table over to one side. Then old 
man calls clown and tells him to go off and fetch his coat, hat and 
cane. Clown asks for a repetition of the order, and the old man 
gets angry, and gives him a kick and he jumps over the light. Then 
the old man moves the table over to one side, and then claps his 
hands, and clown jumps back again over the light with old man’s 
hat on his head and his coat and cane in his hands. Clown throws 
the cane down on old man’s toes, and he motions pain and threatens 
clown, who holds up his coat, and old man puts one arm in the 
sleeve, and the clown puts his arm in the other sleeve, and they 
both knock together. Old man hits clown, and he pulls his arm out 
and puts the coat on at the back. Then turns old man round and 
catches the coat by the collar and lifts it up two or three times, 
and finally lifts the old man off his feet and throws him down on 
his face, and laughs. The old man raps on the floor for clown to 
come and pick him up, and he does so, and gives the old man his 
cane to lean on, and as the old man is leaning on it, clown kicks it 
at the bottom, and the old man falls on his face. Clown laughs at 
him, and turns away in order to enjoy his mirth. The old man 
gets up, and seeing clown laughing at him, he beats him on the back 


64 


SHADOW PANTOMIMES. 


with his stick, and clown turns and apologizes. Old man asks for 
his hat, and clown looks about for it, and motions he cannot see it. 
Old man takes his hand and puts it upon the hat on his head. 
Clown laughs, takes it off and gives it to the old man, who puts 
it on, and motions to clown for him to follow him, and he goes off. 
The clown watches him off, and looks at the table, and says he will 
go and steal some; as he goes to it the old man comes back, and 
seeing him stealing, says, “ Ah !” and clown stops and dances where 
he is. Old man calls him and tells him to follow him. He nods 
yes, and old man walks off, and clown follows him until he gets to 
the side, then he turns and runs back to the table and steals some 
bread, and is cramming it in his mouth when old man comes back, 
and, seeing clown, hits him on the back, and accuses him of eating. 
Clown in action denies it and shows his cheek, all swollen with 
the bread he has in his mouth, and intimates he has much pain 
with the toothache. Old man motions he is sorry, and for him to 
follow him. Old man goes off; clown goes to follow, but then turns 
and laughs and eats the bread he has in his mouth, and then goes 
over to the table and steals all the bread and puts it in his pocket, 
and runs off after the old man. Then as soon as they are gone, 
Walter jumps over the light and motions he has come to see the 
girl he loves, and claps his hands three times, and Lena enters, 
and they embrace, and he tells her he watched her father go out, 
and then he came to see if she would run away with him and get 
married, and he shows her a purse, and she runs to him and they 
embrace and kiss. Then Humpy enters, and parts them, and says 
they have been kissing and he will tell the old man, and he goes 
to go off. They pull him back, and ask in action for him not to 
tell. He motions give me money and I will not. Walter gives him 
some money from the purse, and he goes to go off, and the lovers 
embrace and kiss again, and Humpy returns and demands more 
money. Walter motions he paid him once and he will not pay him 
again. Then Humpy runs off after the old man. Then Lena gets 
afraid that he will be discovered, and tells him to hide somewhere. 
He goes to run off, but she pulls him back and motions him to get 
in the large barrel; she turns the barrel down and he gets in it, 
and she puts the barrel upright, with the head that is in up. Then 
she runs off. Then old man enters with Humpy, who motions to 
him that Lena and her lover were here kissing. Old man motions 
he is good because he has told, and motions that he can go to bed 
and he will watch. Humpy goes off, and Lena enters, and her father 
motions her to go off and go to bed, but she wants to stay where 
she is, but the old man after some trouble pushes her off. Then 
turns and claps his hands, and the clown enters, and he tells him to 
go to work on the large barrel. Clown motions he wants to go to 
sleep, but the old man tells him to work. Old man moves the 
table, and in doing so he sees all the bread is gone, and motions 
that clown done it, and threatens him. Clown stands by the barrel, 
and Walter hits clown on the leg by putting his arm out of the 
bung-hole and pulling his arm back quickly. Clown looks round 


SHADOW PANTOMIMES. 


65 


to see who done it, and as old man enters he gives him a slap in the 
face, and accuses him of hitting him on the leg. Old man denies 
ic. and tells him to go to work; and ho does so, and old man goes 
to work on the small barrel. Walter hits clown again, and he goes 
and kicks old man, and accuses him of kicking him, which old man 
denies, and sends him to work again. Clown goes by barrel and 
stands watching old man, when Walter hits him again on the leg. 
Clown thinks it is some one on the other side of the barrel, and he 
throws his mallet over the barrel and then runs round to see who 
it hit, and sees no one there, and gets very angry, and says in action 
he will not work, and leans his elbow on barrel, and resting his 
head on his hand goes to sleep. Old man looks up and sees him, 
and claps his hands, and motions clown to go to work. He walks 
round the barrel, and hits the wedge with the mallet, but does not 
touch the barrel, and goes round as if half asleep. Old man seeing 
clown at work, then goes on with his own work. Then, while 
clown is walking round the barrel, Walter, who is inside, raises up 
with the barrel and walks over to the old man and bumps the 
barrel against him, and then sets the barrel on the ground and re¬ 
mains quiet. Old man looks up, and sees clown hammering his wedge 
and walking round the same as if the barrel was there. He goes 
over to clown and kicks him, and he looks astonished to see his 
barrel gone. Clown accuses old man of moving, it on the other side, 
and old man accuses clown of knocking his barrel up against him; 
and then old man moves his barrel on to the other side, and tells 
clown to go over and go to work on the large barrel. Then they 
commence to work again, and the clown stops to laugh at the old 
man, and when he is not looking Walter raises up in the barrel and 
carries it over to old man and knocks it against him. Clown turns 
and sees the barrel going, and runs to catch it, at the same time 
the old man looks round to see who is moving the barrel, and seeing 
the clown by the barrel he thinks he has discovered the offender, 
and hi s him on the head with his mallet. Clown falls, and gets 
up motioning great pain, and in action asks old man what he hit 
him for. Old man motions how he saw him push the large barrel 
over to knock against him. Clown shakes his head and denies it. 
Old man again moves his own barrel on the opposite side, and tells 
the clown to go to work. He does so very reluctantly, and the 
old man motions he is very tired and will go off and go to sleep. 
He then moves his barrel and the table off, and goes off himself. 
Clown still continues working on his own barrel, when he looks, 
and seeing the old man gone, he motions he has gone to bed, 
and cannot see him, and leans his arms op the barrel and his head 
on his arms and goes to sleep; when Walter raises up the barrel, 
and then clown looks round to see who done it, but not seeing any 
one he goes to sleep again. Then Walter raises up the barrel again, 
and as clown wakes up and looks, Walter dances the barrel up again. 
Clown watches it dancing, rubs his eyes, then rqns off, and pulls on 
old man by the coat-tail, and motions to him what he saw. Old 
man looks at the barrel, which is still now, and shakes his head, 


66 


SHADOW PANTOMIMES. 


and tolls the clown to go to work again, and he goes off. Clown 
then looks at the barrel, and Walter dances it.up again, and dances 
after clown, who retreats in fear, and then turns and runs off. 
Walter takes the barrel back, and clown runs in with old man and 
tells him to look, but as the old man sees the barrel quite still he 
tells clown his head is crazy, and he goes off. Clown says he is not 
afraid and he will go and listen; he does so, and Walter pulls his 
ear; he calls out with pain and runs off. Then he enters with a 
lighted candle in a candle-stick. He holds it up, and trembles very 
much. He is followed by the old man and Humpy, who are cling¬ 
ing to each other’s coat-tails in a line. Clown pats his breast, and 
motions them to be brave; they motion him to go forward; he 
walks slowly forward, and then turns and runs back; they are all 
frightened. He laughs at them, and then they all get in a line 
again, and go forward to the large barrel, and the clown puts the 
light to the bung-hole, and Walter blows it out, and they all fall 
down backwards, and Walter dances with the barrel amongst them, 
•and as each one gets up and sees the barrel dancing, he motions 
fear and jumps over the light. Then Walter follows them with the 
barrel still over his head. 


THE TRAGICAL DUEL; OR, THE COMICAL RIVALS. 

The properties needed are a chair; some old clothes; a tailor’s 
goose, and a sleeve-board, split half way of its length, and on the 
broadest part, edgewise, so when any one is hit with the flat part 
it will clap together where it is split and make a noise: then another 
sleeve-board that is split through the center of the flat, and pasted 
together, so when any one is hit it will split in two parts; a pistol 
and gun not loaded; a small bag supposed to contain pieces of gold 
for tailor; a shoemaker’s bench and tools, a large awl, a lap-stone, 
hammer, old shoes, a pair of shoemaker’s clamps, &c.; a purse; a 
large bag about a foot long and six inches wide for cobbler, and a 
large cabbage; broom. 

This comical pantomime was performed in the Vauxhall Gardens, 
London, for two summer seasons, in a grand spectacular ballet pan¬ 
tomime, called “Harlequin Aurora,’’ and was introduced in one 
scene,^like the players’ scenes in “Hamlet ” and the “ Midsummer 
Night s Dream, and was considered one of the most successful 
shadow performances of that day. It was commenced by the 
cobbler coming in and wiping his mouth, intimating he has just had 
his breakfast, and now has to go to work. His bench is on one side 
and he goes and sits on it, and jumps up in pain, and picks up the 
large awl and motions that be sat upon it; then he brushes his 
seat off, and then sits down, and puts the lap-stone on his knee 
and gets a piece of leather and commences to hammer on it then 
hits his knee, drops the lap-stone, and motions he hit his knee with 



SHADOW PANTOMIMES. 


67 


the hammer, and it hurt, and he will not hammer any more, hut 
will go on sewing the leather on the shoe that wants repairing. 
Then he gets a shoe and some wax-ends, and then commences to hum 
a tune as if singing a song to himself, and working at the same 
time. Then the tailor comes out, and expresses that the cobbler by 
his singing and hammering on his lap-stone has disturbed his rest 
and woke him up; and he looks very angry at the cobbler, and then 
puts his fingers in his ears as if distracted, and goes over to his 
chair and sits down and goes to work, sewing on some old coats. 
Then a man jumps over the light and goes to the tailor and gives 
him a coat to mend, and then jumps over the light again. Then 
a man jumps over the light and goes to the cobbler and gives him 
a pair of boots and indicates he wants them mended on the soles 
and heels. The cobbler nods, as if all right, and the man jumps 
over the light. Then they both go to work, and a boy jumps over 
the light and comes to the cobbler, and tells him to mend a shoe he 
gives him. The cobbler nods all right, and goes on humming his 
song and working. Then the tailor beckons the boy to come to 
him. The boy goes to him, and he gives the boy a penny, and 
whispers in his ear, and the boy laughs and nods. The tailor goes 
on working and the boy goes to the center of the sheet and gives 
a long whistle, and looks at the cobbler, who threatens the boy, 
who laughs and whistles again, when the cobbler gets his strap 
and jumps up to hit the boy, who avoids the blow and jumps over 
the light. The cobbler looks up in the air and threatens him, and 
goes back to his work again. The tailor laughs at him, and when 
cobbler is not looking, the tailor whistles at him. The cobbler 
looks up, and thinking it was the boy again, then threatens with 
his strap again, and goes to work. The tailor laughs and whistles 
again, then goes on with his work. The cobbler jumps up, and 
looks round, but cannot see the boy, and motions he will watch 
for him, and if he catches him he will beat him; then he goes to 
work again, and the tailor laughs and whistles again, and the cobbler 
looks round quick, and discovers who it was, and gets up and picks 
up the cabbage, and as the tailor turns his back to him, the cobbler 
throws the cabbage at him, and hits him on the back with it and 
knocks him down, then turns round and laughs heartily. The 
tailor gets up, and in a great rage, he seizes his goose, and intimates 
it is very hot, and he goes over and burns the cobbler behind with 
it, and he jumps about in pain, and goes to hit the tailor, who 
puts up the goose, and the cobbler puts his hand on it, and halloas 
in pain. Then the tailor laughs, and goes to his his seat. Then 
the cobbler gets up and challenges him to fight with fists. The 
tailor agrees, and gets up, and they commence to spar around a 
little, and as each go to strike a blow at the other, the old man 
enters and comes between them, and gets the blow and falls down. 
They each accuse the other of killing the old man, and each motion 
the other wilt be hung. Then they lift up the old man. Then his 
daughter, a young girl, runs in and pushes them both away, and 
takes the old” man—her father—off at the side. They both admire 


68 


SHADOW PANTOMIMES. 


her and kiss their hands to her as she goes off. The cobbler goes 
to work, and the tailor runs off after her and brings her back, ’and 
in action motions he loves her and will marry her. She pushes him 
off and spurns him, which the cobbler notices and laughs at. Then 
as she runs off, lie runs after and brings her back, and kneels and 
makes violent and extravagant love to her, but she refuses him, 
and pushes him backwards, and he falls, and she runs off. The 
tailor laughs at the cobbler, who gets up and goes to work again. 
Then the old man enters, and the tailor takes him by the hand, and 
rgotions that he loves his daughter and would marry her. The old 
man in action asks him how much money he has, and expresses 
that lie will give his daughter to the man who has the most money. 
The tailor expresses he has plenty ,of money, and will go and get it 
And he goes off on side. Then the cobbler, who has watched the 
tailor talk to the old man, seizes the old man as he is going off 
and brings him back, and expresses he loves his daughter and would 
like to marry her. The old man shakes hands with him and asks 
how much money he has. The cobbler gets a purse and rattles the 
gold pieces in it and gives it to the old man, who takes his arm 
and they are going off, when the tailor enters and pulls the old 
man back, and the tailor asks how much money the cobbler gave 
him. Old man shows the purse. The tailor laughs, and then shows 
the old man his bag of gold. The old man takes it very pleased 
compares the weight of the purse and the bag. Then throws the 
purse down at the cobbler’s feet, and then pushes him away, and 
talks to the tailor, and intimates he is the best fellow, as be has 
the most money, and is the best man to marry his daughter 
and takes his arm, and is going off. While they have been taTkin^’ 
cobbler has been to his bench and picked up the bag He puts 
the purse in the bag, and then puts his lap-stone in it and then 
laughs, and intimates he has the largest bag of gold, and goes to 
old man and brings him back, and motions that he will give more 
gold than the tailor gave for his daughter. The old man in action 
asks, let me see the larger amount and I will believe you. Then 
the cobbler holds up his large bag and old man is astonished; takes 
the bag, and the weight of it pulls his arm down. Then he throws 
the tailor's bag at his feet, and he takes the cobbler’s arm and 
they walk off together, the cobbler laughing, and putting Ms finger 
to his nose at the tailor. They go off. Then the tailor walks 
across and across, and gets very mad, and goes to the cobbler’s 
stand and s amps his foot on the cobbler’s bench and tries to 
break it; then kicks it over; then walks about and pulls his hair 
out by the handful. (Make first a skull-cap and sew some hair 
loosely on it, so it can be pulled off, for the tailor to wear). Then 
goes and sits on his chair, and puts his face in his hands as if 
crying. Then a jolly young sailor (who loves the old man’s 
daughter) runs in and expresses he has just come to see his girl 
and looking over, sees the tailor, goes to him and slaps him on 
the back, and the sailor asks in action what is the matter The 
tailor expresses that he is in despair, as his rival, the cobbler, having 


SHADOW PANTOMIMES. 


69 


more money than he had, has got the old man's consent to marry 
his daughter, and they have now gone off to get married. The 
sailor motions him to l ave revenge and to call his rival out, and 
in action expresses. I will go for the weapons to fight with while 
you go for your rival. The tailor agrees, and runs off, and the 
sailor laughs, and goes off the other way. Then the tailor enters, 
and pulls on the cobbler, and expresses you have stolen away the 
old man's consent to marry the girl I love, and I want satisfaction; 
you must fight me; my friend will be here soon with the weapons. 
The cobbler motions it is all right, and puts up his fists, and wants 
to fight the tailor right off; and just as they are going to fight the 
sailor runs on with a gun and a pistol, and gets in between them 
and stops them, and in action expresses that is a vulgar way to 
fight, and shows the weapons, and gives the tailor the gun and the 
cobbler the pistol, and tells them to fight with them. The tailor 
goes on his own side, and puts the gun up ready to shoot; when 
the cobbler sees it. he motions him to stop, and he tells the sailor it 
is not fair, that the tailor’s weapon is longer than his, and he wants 
a long one or he will not fight at all. The sailor expresses he will 
try and fix it for him and he goes off and brings on a broom, and 
takes the cobbler’s pistol, and with a piece < f string he ties it on to 
the broom-handle, and gives it to the cobbler, who is now quite 
satisfied, and tiies to fire it at the tailor, who is frightened now, 
and motions the cobbler to stop. Then the sailor expresses that 
they must stand back to back, walk three paces and wheel and fire. 
They agree. Then the sailor places the cobbler in the center, and 
gets the tailor and puts him with his back up against the cobbler’s, 
and he walks to the side. Then the cobbler sneezes, and bends over 
and bumps his back against the tailor and knocks him down on his 
face; he gets up and wants to shoot the cobbler with his gun, but 
the cobbler motions he could not help it, and apologizes. The sailor 
puts them back to back again, and motions them to start when 
lie claps bis hands, and he goes off and claps his hands, and they 
both run off on opposite sides. Then the sailor runs in and laughs at 
them, and runs off after the cobbler and pulls him back, and puts 
him in center and motions him not to move; then he runs off after 
the tailor, and pulls him hack and places him as he -was before. 
Then he goes off and claps his hands, and the tailor walks three 
Steps and points his gun, but the cobbler walks and holds his 
broom up to his shoulder and tries to reach the pistol on the end 
of the handle, but cannot; so he motions to the tailor not to shoot; 
then motions he will not fight that way, but wants to fight with 
swords. Then he goes and gets the pair of shoemaker’s clamps, and 
holds them like a sword, defies the tailor to mortal combat. The 
tailor then puts his gun down and seizes his sleeve-board, and they 
fight a comical combat, hitting each other as often as possible in 
ail the prominent parts of their body, when the tailor hits the 
cobbler on the head with the split sleeve-board and breaks it in 
two. The cobbler falls as if dead. Then the tailor takes his large 
shears and then stabs himself with them, falls as if dead. Then 


70 


SHADOW PANTOMIMES. 


the sailor enters and laughs at them. Calls on the old man’s 
daughter, and they embrace, and he asks her to go off and get 
married to him. She consents, and they run off together. Then 
the old man comes in looking for his daughter, but cannot see 
her. Sees the two rivals; calls them to get up; as they do not, 
he kicks them, and they get up and both beat him with the clamps 
and sleeve-board, and all then jump over the light together, they 
beating him all the time. 


OLD DAME TROT AND HER COMICAL CAT. 

Is commenced by having a cauldron or large iron pot in the 
center near the sheet, then two witches come on and dance on each 
side of the cauldron, then listen, and Old Dame Trot enters, and 
speaks : 

“ Sisters, well met, for lo! your magic power 
Is greatly needed at this very hour. 

For my pet plan, I had so hoped to carry, 

Has all been spoiled, and the girl will not marry 
The one I choose, but vows 'twould break her heart 
Should any wed her but this Johnny Smart. 

In league against me powerful fairies come, 

The Queen, fair constancy, love, truth and home, 

Put them to flight and ’twill accomplish all. 

The other witches both say : “We will! we will !” and dance 
and halloa. Then Dame Trot ^speaks : 

“What’s the cause of this terrific noise?’’ 

1st. Witch. —“ Wo want a pantomime to please the boys.” 

Dame Trot. —“ Why not the girls ? Aye, old men and women, 

A good one, too, that will go off screaming. 

It’s time we thought of one—what shall we call it ? 
Let’s conjure up the book and overhaul it. 

Now form a ring, the eenter be my station, 

We’ll raise a pantomime by incantation.” 

They form a ring, and dancing round, sing the chorus to the music 
of the witches in Macbeth : 

“ Around ! around ! around ! 

About! about! about! 

All fun come running, running in, 

All fun come running in, 

To make a pantomime come out.” 

Then they all form around, and raise their sticks, and halloa. 

1$. Wilch —Shows a paper package, and sings : 

“ Here’s the head of a clown !” 

All sing: — “Put it down, put it down !” 
and she casts the paper into the iron pot. 



SHADOW PANTOMIMES. 


71 


2d. Witch —Shows a paper package, and sings : 

“Here’s a used up pantaloon!" 

All sing :— “Put it down, put it down !" 

Dame Trot —Shows a paper package, and sings : 

“Here’s harlequin and columbine, 

These will raise a pantomime.” 

She casts in her package, and they take hands and dance round, and 
sing the previous chorus, then she picks up the large book, and 
looks in it, and speaks : 

“Here’s the book, though ransacked through and through, 

I think we’ll pick a pantomime that’s sure to do. 

I've struck ile—that fat, 

We’ll call it Dame Trot and her Comical Cat." 

They all dance around and halloa. She stops them and speaks : 

“Witches, disperse, get out, begone! 

And meet me at the morning’s dawn." 

The two witches pick up the cauldron and take it off. Then 
the cat enters, and fawns around Dame Trot, who pats it and 
speaks: 

“ Come, my cat, the fairest ever seen, 

Let’s go and see them dancing on the green!" 

She and the cat go off. Then four girls come on, and then com¬ 
mence dancing, when Johnny Stout comes in, and tells them the 
old man 13 coming, and they all run off. Then the old man enters 
with Johnny Green carrying a large sack and staggering under the 
weight of it, and finally falls down with it. The old man gets 
angry and tells him to pick it up. He tries to do it, but motions he 
cannot do it, and begs the old man to come and help him. The 
old man goes and lifts up one end, and then Johnny Green stops 
and looks at the old man as he is struggling to lift it up. Then 
the old man drops the end, and seeing him laughing, he gives him 
a slap in the face, which Johnny returns with interest. Then the 
old man motions he must help to pick up the bag. He motions 
he will do so, then rubs his hands, and they both pick up the 
bag and put it on Johnny’s shoulder, but the weight is too heavy, 
and he falls back on the bag. The old man gets very angry, and 
motions him to get it up and carry it off to the mill. Then they 
both pick it up, and then Johnny pushes the bag on to the old 
man’s shoulders, and pushes him along. He makes him carry it, 
and as he gets nearly off with it Johnny pushes him behind with his 
foot, and the old man stumbles and falls out of sight with the bag. 
Then Johnny stands and laughs, and the old man enters and kicks 
him, and he runs off after him, and they run across two or three 
times, when Dandy enters, and Johnny runs up against him and 
knocks him down, and he runs off. Old man enters, and running, 
he falls over the dandy. They both get up and are going to fight, 
when they recognize each other, and shake hands. Then the dandy 
motions he has come to marry his daughter, and asks to see her. 


72 


SHADOW PANTOMIMES. 


The old man motions him to stay where he is and he will go and 
fetch her. Old man goes off. and dandy brushes up his hair, pulls 
up his collar, and then the old man enters with his daughter and 
motions to her that she must marry the dandy. She motions that 
she will not. The old man threatens her, and introduces her to 
the dandy. He bows very extravagantly, and Johnny looks in and 
is behind* the dandy, and as he is bowing he pushes dandy on his 
face, and runs off. Then dandy gets up in a rage and threatens 
Johnny, who runs round to the other side. The old man pacifies 
the dandy, and tells him to embrace his daughter. The dandy looks 
pleased and prepares to embrace her, when Johnny comes in and 
gets in her place, and she runs off, and the dandy embraces him, 
then sees his mistake, and threatens him, but he stands laughing at 
him. He goes to hit Johnny a slap in the face, but he bends down 
quickly, and the dandy hits the old man, and Johnny laughs and 
runs off The old man threatens the dandy and pushes him off. 
The dandy tries to apologize, but the old man pushes him off, and 
then goes in his house. Then Johnny Stout enters and calls out the 
old man’s daughter, and they make love and embrace. Then 
Johnny looks in, and expresses that he will go and tell old man, 
and he runs off, and old man enters and parts the lovers, and tells 
him to go off, and pushes her in towards house. She refuses to go, 
but he pushes her, and she holds against him, and he pushes harder, 
then she runs, and the old man falls down on his face, and Johnny 
enters and helps the old man up, and leads him in the house. Then 
Johnny Stout comes on, and expresses they will not let him marry 
the girl he loves, and have turned him out of the house; but for 
revenge he will plague them a little; so he claps his hands, and then 
runs off Then Johnny comes out, and looks around, and says he 
heard some one call, and motions he will watch for them; and he 
goes in again. Then Johnny Stout enters and laughs, and claps his 
hands and runs out on the other side. Then Johnny and the old 
man run out with sticks, and then beat each other until they discover 
their mistake. Then both apologize, and go in the house again. 
Then the cat comes on and walks about, and Johnny Stout enters 
and claps his hands and runs off. Then Johnny Green runs out 
with stick and beats the cat, and catches her and takes her off and 
returns, and motions he has thrown her in the water. Then the old 
man comes in and Johnny explains to him what he has done, and 
the old man pats him on the back, and expresses he is a good boy 
for doing it. Then a large bell rings, and Johnny Stout runs across, 
and enters with the cat. Then Dame Trot and the old man’s 
daughter enter. Then the four characters stand 'two on each side 
ready to change their dresses. Then Dame Trot speaks : 

“Ding dong bell, pussey’s in the well! 

Who put her in ?—little Johnny Green. 

Who pulled her out ?—little Johnny Stout. 

To punish you for your cruelty I’ll begin, 

By changing Johnny Stout to Harlequin, 

And that he may not for a lover repine 


SHADOW PANTOMIMES. 


73 


Yon old man's daughter shall be his Columbine. 

An d yon old man must change, and soon 

Appear as tottering, pottering Pantaloon. 

Johnny Green, on whose misdeeds all frown, 

Must make amends as jolly Clown. . 

Hey, Presto change !” 

Then they all change their dresses quickly, and she runs off, followed 
by the cat. Then all dance, and Clown and Pantaloon see Harle¬ 
quin and Columbine and try to catch them, but they run under 
their arms and escape, and Clown and Pantaloon knock together and 
fall down Then Pantaloon calls Clown to pick him up. He comes 
and picks him up, then jumps on his back and drives him off. 
Then the music changes and Dame Trot enters, followed by the 
cat, which she pets, and it frisks around her and she laughs, and 
then goes off, followed by the cat. Then the Harlequin enters and 
dances a little, and then he puts her off. Then he stands aside, and 
Clown runs in, and Harlequin hits him on the back, and he turns 
and hits the Pantaloon a slap in the face. He says : “ What s that 

for?” Clown says: “You hit me behind my back.” Pantaloon 
says: “No, 1 didn’t.” Clown says: “Oh, I saw you do it. 
Look out, here’s somebody coming.” Then a man enters with a 
tray with a large pie dish with a paper crust made over it. He has 
a large paper, with the words, “ Mutton-pies” cutout. Clown and 
Pantaloon ask him how he sells them. He puts the sign up against 
the sheet, and holds up two fingers. Clown says: “ What, two 
shillings?” Man nods yes, and Clown takes the pie, and tells the 
Pantaloon to pay for it. Pantaloon puts his hand in his pocket and 
gives the man money, and the man g^oes off. r Ihen Harlequin 
moves the sign and puts another one with the words ‘ ’ Cat-pie 
cut out in the same place. Then Clown and Pantaloon say : 
“ Let’s sit down and eat our nice mutton-pie.” They sit down and 
put the pie between them, and say: “How shall we cut it, we 
have no knife?” Pantaloon says: “ Excuse yourself, and use 
your fingers,” and as they go to break and raise up the pie-crust, 
a large cat jumps out and runs off. They both fall over at back, 
then get up and see the sign and throw the dish and the sign off 
after the cat, and Clown says: “ I don’t want any pie.” Pantaloon 
says: “More do I.” Clown says: “Look out! here comes the 
pie-man. You go away; I want to lick him for swindling me. 
Pantaloon runs off, and the pie-man comes on, and the Clown says: 
“ Here, give me my money back—you’ve swindled me. I 11 have 
you arrested for putting live cats in your mutton-pies.” The pie¬ 
man says: “ It’s no such thing; you’ve eaten the pie and now want 
your money back.” Clown says: “ Give me the money or 111 lock 
you up,” and pie-man says: “ I won’t do it.” Clown then seizes 
him by one end of his neck-tie. and pulls it and says: Come along 

and be arrested.” Clown pulls and the pie-man turns, and the 
neck-tie unwinds about five or six yards. Then the pie-man runs 
off, and Clown laughs and begins to put the neck-tie in his pocket. 
Then Pantaloon comes in on the other side, and pulls the neck-tie 


74 


SHADOW PANTOMIMES. 


through his pockets and folds it up. Clown watches the neck-tie 
go through, then he turns quickly and sees Pantaloon with it, and 
he takes it from him and slaps him in the face with it, and as 
Pantaloon turns, Clown pushes him behind with his foot, and 
Pantaloon stumbles off, and Clown follows him laughing. Then 
Harlequin and Columbine enter, and after dancing a little they 
run off Then Pantaloon enters, and when he gets to center Clown 
runs in and he jumps over the Pantaloon’s head, and turns and 
kicks him in the head and he falls. Clown picks him up, and says: 
“ Look out, here’s somebody coming !” when a boy enters with a 
bundle. Clown goes to him and takes it from him, and says: 
“ All right, Bob, it’s mine.” Boy cries, and goes to side, and says: 
“ I'll go and tell my father,” and he runs off. Clown and Panta¬ 
loon both laugh, and say: “Let’s sit down and see what’s in it.” 
They both sit down in center and put the bundle between them, aud 
are about to open it, when the boy comes back, and seeing them, 
he beckons and a man comes on with a gun; boy points to Clown, 
and says: “ There they are,” and he runs off. The man comes up 
to Clown and Pantaloon and points the gun at Clown’s head, and 
he looks up and, seeing it, throws the bundle to Pantaloon and says: 
“ You may have it,” and he runs off. Then the Pantaloon laughs 
and takes the bundle, and is going to undo it, when the man points 
the gun at him, and he looks at it and runs off. Then the man 
puts his gun down and laughs, and sits down and tries to undo the 
bundle, when Clown pops his head in on one side, and says: “All 
light, I know,” and goes in and picks up the gun, and points the 
gun at man, who drops the bundle and trembles very violently, and 
is going to run, when the Clown calls out, “Come back!” and 
the man comes back, and falls on his knees and begs for his life. 
Clown says: “ Take off your hat.” The man hesitates, and Clown 
points the gun at him, and he takes it off quick, then tries to go, 
but Clown makes him come back, and says: “ Take off your coat.” 
The man hesitates, and Clown points gun at him, and says: “ Off 
with it,” and the man takes it off, and puts it down by the hat. 
Then Clown says: “ Take off your vest;” man takes it off and puts 
it with the other things. Clown says: ‘ ‘ Take off your pantaloons.” 
The man hesitates. Clown says: “ Take ’em off“” The man goes 
to unbutton them, and Clown laughs. The man looks at him, and 
runs off quick. Clown laughs, puts the coat and hat on, and calls 
Pantaloon on. who is surprised at him, then laughs and picks up 
the bundle, and as they are going, the man comes on with a policeT 
man, and he points to Clown and Pantaloon, and he goes off. Then 
the policeman goes to them and seizes them, and they are very 
frightened, and he drags them along, and when nearly to the side, 
they trip up the policeman and he falls, and they run off, and the 
policeman gets up and runs after them. Then Clown and Pantaloon 
run in and jump over the light. Then the policeman runs in and 
jumps over the light. Then Clown comes running in, and knocks 
against a lady, who is carrying a baby. She screams and he apolo¬ 
gizes, and asks her to let him mind the baby while she goes out 


SHADOW PANTOMIMES. 


75 


shopping. She consents and gives him the baby, and she goes off 
Then Clown nurses the baby, and Pantaloon enters, and seeing him 
with the baby, he laughs, and says: “Is that yours?’’ Clown 
says: “Yes; I just bought it for three cents ” Pantaloon says: 
“ Let me kiss it for its mother.” Clown holds up the baby and lie 
kisses it, and the child begins to cry. Clown says: “ Now you’ve 
made it cry.” Pantaloon says: “I didn’t; it wants something to 
eat,” and he runs off and fetches on a bowl of sawdust and a 
spoon, and gives them to Clown, and he feeds the baby. Then hits 
the baby with the spoon, and Pantaloon takes the bowl and spoon 
off, and Clown tries to pacify the child, then punches its head and 
shakes it, then puts it on the floor and sits on it. Then its mother 
enters and screams, and Clown gets up and lifts up the baby and 
tries to run off with it, but the mother seizes it, and she and the 
Clown struggle for the possession of the child. As they are pulling, 
the dress of the child comes off in the hands of the mother and 
the naked baby in the hands of the Clown, and they both fall down 
backwards. Then Clown gets up, shows the baby, holds it to him 
to cover it up, and runs off, and the mother gets up, and screaming 
very loudly, she runs after him. Then he runs across the other 
way, and mother after him, and screaming. Then Clown runs in 
from the other side, and stops in center out of breath; then fans 
himself. Then the mother runs in and snatches the baby from 
Clown; then she seizes him by the collar, and drags him off, and 
screams the whole time. Then Harlequin and Columbine enter and 
dance a little, and then run off. Then Clown and Pantaloou enter 
together dancing, or rather burlesquing the dance of Harlequin and 
Columbine. Then they stop, and Clown says: 4 4 Somebody coming ” 
Then a wood-sawyer crosses with his buck and saw. Clown steals 
the saw and hits the Pantaloon on the head with it. He says: “I 
saw you.” Clown says: “Look out.” Then a man with a wooden 
leg enters and begs some money of Clown, who says, “We have 
none,” and the wooden-leg man kicks him with it. Then the Clown 
and Pantaloon seize him and saw his wooden leg off, and make him 
hop home without his leg; the man calls police, and a policeman 
runs in, and the Clown stabs him with the wooden-leg, and he 
staggers and falls off at the side. Then they throw the leg off and 
dance around as if triumphant. Then a woman enters with a 
basket, and a sign with the word “Eggs” cut out. Clown stops 
her, and bows very extravagantly, and says: 44 How do you sell 
your eggs ?’' She holds up her hand with three fingers showing. 
Clown says: “Three for ten cents, all right; let’s look at them.” 
She puts down her basket, and while the Pantaloon is talking to 
her, the Clown steals three eggs and puts them in his pocket, and 
says to her: “ We don’t want any this morning, because we’ve had 
our breakfast, but call to-morrow.” He helps lift her basket up 
and she takes it off. Then Clown and Pantaloon laugh, and Panta¬ 
loon laughs at Clown as he is sucking the eggs. Then Pantaloon goes 
off, and when Clown has sucked the last egg he rubs his stomach, and 
says he feels good, and walks about. Then Harlequin runs in and 


76 


SHADOW PANTOMIMES. 


waves his bat near the Clown’s stomaeh; he 'stops, and motions 
severe pain. Then straightens up and laughs, and says the pain is 
gone. Then the Harlequin waves his bat near the Clown's stomach, 
and runs off. The Clown makes motion of violent and severe pain, 
and walks about, the pain almost bending him double. Then he 
stamps his feet, and calls for the Pantaloon, who runs in and asks 
what is the matter. Clown says: “Oh, oh, my! the eggs have 
hatched; run for a doctor!” Pantaloon runs off and brings on a 
chair and a doctor; they sit Clown down in the chair, and the 
Pantaloon holds him down, and has the duck ready to be pulled 
by the doctor, as if it came from the Clown's mouth. Then the 
doctor rolls up his sleeves and looks down the Clown’s throat, and 
makes the deception by the shadow as if he was feeling down the 
Clown’s throat; then when he pulls his arm up again he pulls the 
duck from the side of Clown’s head from the Pantaloon, and in 
the shadow it will have the appearance of being pulled from the 
Clown’s mouth. Then the doctor holds it up in triumph, and the 
Clown looks at it in astonishment. Then the doctor lets the duck 
walk about the floor, and he and the Pantaloon go off to get a 
drink. The Clown laughs at the duck waddling, and he imitates 
it; then frightens it off; then is going to put the chair off, when 
he feels bad again, and runs around in pain; then calls out, and 
Pantaloon runs in again and looks down his throat, and sits him 
in the chair, and goes for the doctor, who goes through the same 
action as before, and this time he pulls out a chicken, and throws it 
up and lets it fly. Clown feels better, and they are going off, when 
he is taken bad again and calls them back. They enter, and are 
going to sit him down again, but he says: “Wait a minute;” he 
makes the action of taking a big swallow, then he laughs, and says: 
“ Never mind, it has gone the other way.” Then the doctor asks 
for his pay, and the Clown puts his finger to his nose and runs off, 
followed by the doctor and the Pantaloon. Then the Clown enters 
to run across again, when an old woman, with a basket of fish on 
her head, is entering, when the Clown knocks his head in her 
stomach, and she falls backwards and throws the fish and fish-basket, 
and it falls on the Pantaloon as he is entering behind Clown. Then 
the old woman gets up and wants her basket, and the Clown helps 
to put her basket on her head, but as he does so he steals all the 
fish. Then the woman goes off with the basket on her head and 
calling out “fish!” Clown and Pantaloon both laugh at her, and 
then Pantaloon says: “ Let’s divide them,” and they both sit down 
with the fish in between them, and the Clown takes up one very 
small fish, and says: “There’s one for you,” and gives it to 
Pantaloon, then he takes up the largest one and puts it on his own 
side, and says: “There’s one for me—there’s no cheating when you 
count them this way.” Then he takes up another small one and 
gives it to the Pantaloon, and says: “ There’s two for you,” and 
then he takes up two of the large ones, and says: “And here’s 
two for me too.” Then the Pantaloon objects, and the Clown says: 
“Oh, why don’t you go to school and learn arithmetic?” and he 


SHADOW PANTOMIMES. 


77 


counts them over again in the same way. While he is doing-so, the 
old fish-woman enters with a policeman, and she goes off, and the 
policeman goes and stands in between them. Pantaloon says: “ I 
know it’s not fair, you’ve taken all the largest ones.” Clown says: 
“Well, all the largest ones are mine, because I stole them;” then 
he looks round and sees the policeman and gets very frightened, 
and Pantaloon says: “No you didn’t steal them, it was I stole 
them.” Clown says: “Of course you stole them, and you can 
have them all,” and he runs off. Then Pantaloon picks them up, 
and as he gets them all in his arms and is going off, then he turns 
and sees the policeman; he drops the fish and says: “ I don’t want 
them,” and runs off. The policeman laughs at them, and picks up 
the biggest fish and looks at it admiringly, when the Clown looks 
in and says: “Ah, I’ll tell your sergeant!” and the policeman 
drops the fish and shakes his club at the Clown, who goes off. Then 
the policeman looks round, then picks up the fish and puts it up 
his coat at back, and buttons his coat in front, then shakes his 
staff and runs off. Then Clown and the pantaloon run in and laugh, 
and are picking up the fish, when the policeman enters and seizes 
them to arrest them, when they trip him up and he falls, and they 
steal his club and beat him very unmercifully on the head; then 
as he gets up they seize him on each side by the coat-collar and 
coat-tails and throw him over the light, and they rejoice in their 
triumph and walk off arm-in-arm. Then the Harlequin and Colum¬ 
bine enter, and dance across. Then Dame Trot enters with a string 
of small fish in her hand. She is followed by the cat, who tries to 
jump for the fish, but she raises them out of her reach, and stops 
and speaks: 

“ Here, my cat, are fish that are nice. 

Which I will give you if you catch me some mice.” 

She walks off, and the cat follows her and tries to get the fish. 
Then Clown and Pantaloon run in and laugh. Then Harlequin 
enters and slaps Clown on the back with his wand. Clown slaps 
Pantaloon in the face for it, and tells him to stop. Pantaloon says: 
“I done nothing.” Clown says: “Well, don’t doit again.” 
Then Harlequin hits Pantaloon, and he hits the Clown and knocks 
him down. Clown asks what he done it for. Pantaloon says: 
“You better stop your fooling with me.” Clown says: “I done 
nothing to you.” Then Harlequin waves his bat between their 
legs, and slaps them on the calves with it, and they look down to 
see who done it, and the Harlequin slaps them both on the back, 
and they turn and see him, and run off and get a pistol, and snap 
off the caps, like firing the pistol at him, but he, to avoid it, jumps 
over the light, and a fat man coming in just then, he is supposed 
to get shot, and he falls down, and they raise him up and ask him 
where he is shot; he says in his stomach. Pantaloon gets a chair, 
and they put the fat man in it, and he twists about and groans in 
pain. Then a carpenter crosses the stage with his tool-box in his 
hand, from which the Clown steals an auger, a mallet and a pair 


78 


SHADOW PANTOMIMES. 


of tongs, and puts them by the fat man, who is still groaning. 
Then a baker crosses with his tray on his head with a long twist 
loaf on it, which the Clown steals, and the baker goes off. Then 
the Clown asks the man where he was shot, and he points to his 
stomach; the clown gets the auger and is going to bore, into the 
fat man’s stomach, but he jumps up and tries to stop him, when 
Pantaloon seizes him and holds him down. Then Clown sticks the 
auger in his stomach, and he commences turning it around as if he 
was boring into him. The fat man squirms around.. Then Clown 
pulls the auger out, and feels in the opening of his vest for the 
ball with the tongs, but cannot find it. Then he rolls up his sleeve, 
and feels in between the fat man's vest and pulls out the large ball, 
and all are astonished. The fat man wants to get up, but Clown 
calls out, “ Hold him down, he’s not cured yet.” Then he shows 
the twist loaf, and measures the depth of the man through his 
stomach, and breaks a piece of the loaf off; then puts the small 
end in the opening of the man’s vest, and then gets the mallet 
and drives it in the vest, and he buttons it over the loaf, and the 
man feels better, and gets up and feels all right—shakes hands with 
them and goes off. Then Clown and Pantaloon both laugh at him, 
and throw the things off. Then a tinman comes on with his 
furnace and two soldering-irons in it; he comes on calling out, 
“Any old tin-ware to mend!” The Clown and Pantaloon get on 
each side of him, and say: “How do you do, tinker?” He puts 
down the furnace, and takes his soldering-irons in each hand, and 
as they offer to shake hands with him, he puts the hot irons in 
their hands, and they call out with pain, and seize him and pitch 
him over the light, and burn him with the irons as he goes. Then 
both laugh, and by mistake put the irons in their pockets and burn 
themselves. Then a lame man with two crutches comes in and 
says: “ Please give a poor cripple a penny.” They laugh at him, 
and burn him with the hot irons. He drops his crutches and runs 
off. They each drop their iron and pick up a crutch, and use it as 
if they were lame, when the crippled man enters and he picks up 
the irons and burns them both until they run off, and he follows, 
waving the irons in triumph, and runs off. Then HaTlequin and 
Columbine enter, and Old Dame Trot and the cat. She beckons 
Harlequin and Columbine, and she joins their hands and speaks : 

“Your course is o’er—the race of fun— 

These constant lovers have most nobly won. 

Ere to our fairy realms we take our flight 
I bid to each and all a fair good night, 

And may the genial glow of virtue cheer 
Your happy firesides in the coming year.” 

And they all run off, and as Clown and Pantaloon enters to follow 
them, an ugly demon jumps in and stops them. He has a large 
wooden pitchfork in his hand, and as Clown and Pantaloon come near 
him he gives them a push with the pitchfork and sends them over the 
light. Then the tinker, then the cripple, then the policeman, then 


SHADOW PANTOMIMES. 


79 

the fish-woman, then the Clown enters behind the demon as he is 
laughing, and Clown steals the pitchfork from the demon, and with 
it throws him over the light. Then the Clown waves the pitchfork 
in triumph and follows him. 

Properties required .—A cauldron, or three-legged iron pot: three 
crooked witch-sticks; three small paper packages; large book* large 
bag stuffed with straw; two short sticks; Harlequin’s bat; a large 
pie with a cat inside it; a tray; a sign with the letters cut out, 

Mutton pies ; a sign, “ Cat pies;” a bundle; a gun; policeman’s 
club; a baby; a bowl of sawdust and a spoon: a wooden leg; a saw 
a basket with a sign, “Eggs;” three blown eggs; a live duck and a 
chicken; a basket of fish, some small and a large one; string of 
small fish; pistol, with a cap on, but no load; chair; large ball 
three inches in diameter; a carpenter’s box, with an auger, tongs 
and mallet in it; a baker’s tray, with a long twist loaf in it; a 
tinker’s furnace and two soldering-irons; a pair of crutches; a wooden 
pitchfork and a demon’s mask. 










- 






r 


. — ■ • =■ *. * - f 


* 


• • i,. 

■ '■ ■ 




. . . ! 











































PRICE S5 CENTS. 




OR, 


iatlepin in tfc* citato, 


HOW TO GET THEM UP, AND HOW TO ACT THEM 


BY 


T03ST3T 3DE3STIEE, 


WITH NUMKROTJS II^LiTJSTHA.TION’S. 


NEW YORK: 

0. A. ROOREACH, PUBLISHER, 
No. 102 Nassau Street. 


BOOKS EVERY AMATEUR SHOULD HAVE. 

SATEUR’S GUIDE ; or, How to Get up Home Theatricals and to Act in Them, with Rules, B ( 
laws, Selected Scenes, Plays and other useful information for Amateur Societies. Price 25 cts. 

GUIDE TO THE STAGE. 15 cents. ART OF ACTING. 15 cents. 
Anything on this cover sent hv mail on receipt of price. 



























FKENCH’S STANDARD DRAMA 

Price 15 Cents each.—Bound Volumes $1.25. 


■ 


VOL. I. 

1 Ion 

2 Fazio 

3 The Lady of Lyons 

4 Richelieu 

5 The Wife 

6 The Honeymoon 

T The School for Scandal 

8 Money 

VOL. II. 

9 The Stranger 

10 Grandfather Whitehead 

11 Richard III 

12 Love’s Sacrifice 

13 The Gamester 

14 A Cure for the Heartache 

15 The Hunchback 

16 Don Csesar de Bazan 

VOL. III. 

17 The Poor Gentleman 

18 Hamlet 

19 Charles II 

20 Venice Preserved 

21 A izarro 

22 The Love Chase 

23 Othello 

24 Lend me Five Shillings 

VOL. IV. 

25 Virginius 

26 King of the Commons 

27 London Assurance 

28 The Rent Day 

29 Two Gentlemen ofVerona 

30 The Jealous Wife 

31 The Rivals 

32 Perfection 

VOL. V. [Debts 

33 A New Way to Pay Old 

34 Look Before You Leap 
85 King John 

36 Nervous Man 

37 Damon and Pythias 

38 Clandestine Marriage 

39 William Tell 

40 Day after the Wedding 

VOL. VI. 

41 Speed the Plough 

42 Romeo and Juliet 

43 Feudal Times 

44 Charles the Twelfth 

45 The Bridal 

46 The Follies of a Night 

47 Iron Chest [Fair Lady 
43 Faint Heart Never Won 


VOL. VII. 

49 Road to Ruin 

50 Macbeth 

51 Temper 

52 Evadne 

53 Bertram 

54 The Duenna 

55 Much Ado About Nothing 

56 The Critio 

VOL. VIII. 

57 The Apostate 

58 Twelfth Night 

59 Brutus 

60 Simpson & Co 

61 Merchant of Venice 

62 Old Heads* Young Hearts 

63 Mountaineer* [riage 

64 Three Week* after Mar- 

VOL. IX. 

65 Love 

66 As You Like It 

67 The Elder Brother 

68 Werner 

69 Gisippus 

70 Town and Country 

71 King Lear 

72 Blue Devils 


VOL. X. 

73 Henry VIII 

74 Married and Single 

75 Henry IV 

76 Paul Pry 

77 Guy Mannering 

78 Sweethearts and Wive* 

79 Serious Family 

80 She Stoops to Conquer 


VOL. XI. 

81 Julius Csesar 

82 Vicar of Wakefield 

83 Leap Year 

84 The Catspaw 

85 The Passing Cloud 

86 Drunkard 

87 Rob Roy 

88 George Barnwell 

VOL. XII. 

89 Ingomar 

90 Sketches in India 

91 Two Friends 

92 Jane Shore 

93 Corsican Brothers 

94 Mind your own Business 

95 Writing on the Wall 

96 Heir at Law 

VOL. XIII. 

97 Soldier’s Daughter 

98 Douglas 

99 Marco Spada 

100 Nature’s Nobleman 

101 Sardanapalus 

102 Civilization 

103 The Robbers 

104 Katharine and Petruchio 
VOL. XIV. 

105 Game of Love 

106 Midsummer Night’s 

107 Ernestine [Dream 

108 Rag Picker of Paris 

109 Flying Dutchman 

110 Hypocrite 

111 Therese 

112 La Tour de Nesle 

VOL. XV. 

113 Ireland As It I* 

114 Sea of Ice 

115 Seven Clerk* 

116 Game of Life 

117 F.orty Thieve* 

118 Bryan Boroihme 

119 Romance and Reality 

120 Ugolino 

VOL. XVI. 

121 The Tempest 

122 The Pilot 

123 Carpenter of Rouen 

124 King’s Rival 

125 Little Treasure 

126 Dombey and Son 

127 Parents and Guardians 

128 Jewess 

VOL. XVII 

129 Camille 

130 Married Life 

131 Wenlock of Wenlock 

132 Rose of Ettrickvale 

133 David Copperfield 

134 Aline, or the Rose of 

135 Pauline [Killarney 

136 Jane Eyre 
VOL. XVIII. 

137 Night and Morning 

138 Alt hi op 

139 Three Guardsmen 

140 Tom Cringle 

141 Henriette, the Forsaken 

142 Eustache Baudin 

143 Ernest Maltravers 

144 Bold Dragoons 
VOL. XIX. 

145Dred, or the Dismal 

[Swamp 

146 Last Day* of Pompeii 

147 Esmeralda 

148 Peter Wilkins 

149 Ben the Boatswain 

150 Jonathan Bradford 

151 Retribution 

152 Minerali 
VOL. XX. 

153 French Spy 

154 Wept of Wish-ton Wish 

155 Evil Genius 

156 Ben Bolt 

157 Sailor of France 

158 Red Mask 

159 Life o.f an Actress 

160 Wedding Day 


[Moscow 


VOL. XXI. 

161 All’s Fair in Love 

162 Hofer 
153 Self 

164 Cinderella 

165 Phantom 

166 Franklin 

167 The Gunmakei; of 

168 The Love of a Prince 

VOL. XXII, 

169 Son of the Night 

170 Rory O'More 

171 Golden Eagle 

172 Rienzi 

173 Broken Sword 

174 Rip Van Winkle 

175 Isabelle 

176 Heart of Mid Lothian 

VOL. XXIII. 

177 Actress of Padua 

178 Floating Beacon 

179 Bride of Lamermoor 

180 Cataract of the Ganges 

181 Robber of the Rhine 

182 School of Reform 

183 Wandering Boys 

184 Mazeppa 
VOL. XXIV. 

185 Young New York 

186 The Victims 

187 Romance after Marriage 
183 Brigand 

189 Poor of New York 

190 Ambrose Gwinett 

191 Raymond and Agnes 

192 Gambler’s Fate 
VOL. XXV. 

193 Father and Son 

194 Massaniello 

195 Sixteen String Jack 

196 Youthful Queen 

197 Skeleton Witness 

198 Innkeeper of Abbeville 

199 Miller and his Men 

200 Aladdin 
VOL. XXVI. 

201 Adrienne the Actre** 

202 Undine 

203 Jessie Brown 

204 Asmodeus 

205 Mormon* 

206 Blanche of Brandywine 

207 Viola 

208 Deseret Deserted 

VOL. XXVII. 

209 Americans in Pari* 

210 Victorine 

211 Wizard of the Wav* 

212 Castle Spectre 

213 Horse-shoe Robinson 

214 Armand, Mrs Mowatt 

215 Fashion, Mrs Mowatt 

216 Glance at New York 
VOL. XXVIII. 

217 Inconstant 

218 Uncle Tom’s Cabin 

219 Guide to the Stage 

220 Veteran 

221 Miller of New Jersey 

222 Dark Hour before Dawn 

223 Midsum'rNight’eDream 
[Laura Keene’* Edition 

224 Art and Artifice 
VOL. XXIX 

225 Poor Y oung Man 

226 Osiawattomie Brown 

227 Pope of Rome 

228 Oliver Twist 

229 Pauvrette 

230 Man in the Iron Maak 

231 Knight of Arva 

232 Moll Pitcher 
VOL. XXX. 

233 Black Eyed Susan 

234 Satan in Paris 

235 Rosina Meadow* 

236 West End, or Irish Heir 

237 Six Degrees of Crime 

238 The Lady and the Devil 

239 Avenger,or Moor of Sici- 

240 Masks and Face* [ly 




{Catalogue continued on third page of cover.) 


VOL. XXXI. 

241 Merry Wives of Wind" 

242 Mary’s Birthday 

243 Shandy Maguire 

244 Wild Oats 

245 Michael Erie 

246 Idiot Witness 

247 Willow Copse 

248 People’s Lawyer 
VOL. XXXII. 

249 The Boy Martyrs 

250 Lucretia Borgia 

251 Surgeon of Paris 

252 Patrician's Daughter 

253 Shoemaker of Toulous: 

254 Momentous Question 

255 Love and Loyalty 

256 Robber’s Wife 
VOL. XXXIII, 

257 Dumb Girl of Genoa 

258 Wreck Ashore 

259 Clari 

260 Rural Felicity- 

261 Wallace 
'262 Madelaine 

263 The Fireman 

264 Grist to the Mill 

VOL. XXXIV. 

265 Two Loves and a Life 

266 Annie Blake 

267 Steward 

268 Captain Kyd 

269 Nick of the Wood* 

270 Marble Heart 

271 Second Love 

272 Dream at Sea 
VOL. XXXV. 

273 Breach of Promise 

274 Review 

275 Lady of the Lake 

276 Still Water Runs Deep 

277 The Scholar 

278 Helping Hands 

279 Faust and Marguerite 

280 Last Man 
VOL. XXXVI. 

281 Belle’s Stratagem 

282 Old and Young 

283 Raffaella 

284 Ruth Oakley 

285 British Slave 

286 A Life’s Ransom 

287 Giralda 

288 Time Tries All 
VOL. XXXVII. 

289 Ella Rosenburg 

290 Warlock of the Glen 

291 Zelina 

292 Beatrice 

293 Neighbor Jackwood 

294 Wonder 

295 Robert E mm et 

296 Green Bushes 
VOL. XXXVIII. 

297 Flowers of the Fore*t 

298 A Bachelor of Art* 

299 The Midnight Banquet 

300 Husband of an Hour 

301 Love’s Labor Lost 

302 Naiad Queen 

303 Caprice 

304 Cradle of Liberty 
VOL. XXXIX. 

305 The Lost Ship 

306 Country Squire 

307 Fraud and it* Victim* 

308 Putnam 

309 King and Deserter 

310 La Fiammina 

311 A Hard Struggle 

312 Gwinnette Vaughan 
VOL. XL. 

313 The Love Knot [Judge 

314 Lavater, or Not a Bad 

315 The Noble Heart 

316 Coriolanus 

317 The Winter’s Tale 

318 Eveleen Wilson 

319 Ivanhoe 

320 Jonath »u in England 



























FRENCH’S MINOR DRAMA. 

Price 15 Cents each.—Bound Volumes $1.26. 


VOL. I. 

1 The Irish Attorney 

2 Boots at the Swan 

3 How to pav the Rent 

4 The Loan of a Lover 

5 The Dead Shot 

6 His Last Legs 

7 The Invisible Prince 

8 The Golden Farmer 

VOL. II. 

9 Pride of the Market 

10 Used Up 

11 The Irish Tutor 

12 The Barrack Room 

13 Luke the Laborer 

14 Beauty and the Beast 

15 St. Patrick's Eve 

16 Captain of the Watch 

VOL. III. 

17 The Secret fpers 

18 White Horse of the Pep- 

19 The Jacobite 

20 The Bottle 

21 Box and Cox 

22 Bamboozling 

23 Widow's Victim 

24 Robert Macaire 

VOL, IV. 

25 Secret Service 

26 Omnibus 

I 27 Irish Lion 
28 Maid of Croissy 
j 29 The Old Guard 
! 30 Raising the Wind 

1 31 slasher and Crasher 
32 Naval Engagements 

VOL. V. 

33 Cocknies in California 
| 34 Who Speaks First 
85 Bombastes Furioso 
36 Macbeth Travestie 
37 Irish Ambassador 
38 Delicate Ground 
39 The Weathercock [Gold 
40 All that Glitters is Not 

VOL. VI. 

41 Grimshaw, Bagshaw and 
Bradshaw 
42 Rough Diamond 
43 Bloomer Costume 
44 Two Bonny castles 
45 Born to Good Luck 
46 Kiss in the Dark [jurer 
47 ’Twould Puzzle a Con- 
48 Kill or Cure 

VOL. VII. 

49 Box and Cox Married and 
50 St. Cupid [Settled 

51 Go-to-bed Tom 
52 The Lawyers 
53 Jack Sheppard 
54 The T oodles 
55 The Mobcap 
56 Ladies Beware 


VOL. X. VOL. XIX. 

73 Ireland and America 145 Columbus 

74 Pretty Piece of Business 146 Harlequin Bluebeard 

75 Irish Broom-maker 147 Ladies at Home 

76 To Paris and Back for 148 Phenomenon in a Smock 


VOL. VIII. 

3 7 Morning Call 

58 Popping the Question 

59 Deaf as a Post 

60 New Footman 

51 Pleasant Neighbor 
62 Paddy the Piper 

53 Brian O’ Linn 

54 Irish Assurance 

VOL. IX. 

45 Temptation 
•6 Paddy Carey 
57 Two Gregories 
>8 King Charming 
i9 Po ca-hon-tas 
0 Clockmaker’s Hat 

1 Married Rake 

2 Love and Murder 


Five Pounds 

77 That Blessed Baby 

78 Our Gal 

79 Swiss Cottage 

80 Young Widow 

VOL. XI. 

81 O Flannigan and the Fa- 

82 Irish Post [ries 

83 My Neighbor’s Wife 

84 Irish Tiger 

85 P. P., or Man and Tiger 

86 To Oblige Benson 

87 State Secrets 

88 Irish Yankee 

VOL. XII. 

89 A Good Fellow 

90 Cherry and Fair Star 

91 Gale Breezely 

92 Oui Jemimy 

93 Miner s Maid 

94 Awkward Arrival 

95 Crossing the Line 

96 Cenjugal Lesson 

VOL. XIII. 

97 My Wife’s Mirror 

98 Life in New York 

99 Middy Ashore 

100 Crown Prince 

101 Tv o Queens 

102 Thumping Legacy 

103 Unfinished Gentleman 

104 House Dog 

VOL. XIV. 

105 The Demon Lover 

106 Matrimony 

107 In and Out of Place 
103 I Dine with My Mother 

109 Hi-a-wa-tha 

110 Andy Blake 

111 Love in’76 [ties 

112 Romance under Difficul- 


VOL. XV. 

113 One Coat for 2 Suits 

114 A Decided Case 

115 Daughter [nority 

116 No; or, the Glorious Mi- 

117 Coroner's Inquisition 

118 Love in Humble Life 

119 Family Jars 

120 Personation 


VOL. XXXVII. 

49 All the World's a Stage 
t0 Quash, or Nigger Practice 
tl Turn Him Out 
12 Pretty Girls of Stillberg 
“8 Angelof the Attic 

14 Circumstances alter Case* 

15 Katty O'Sheal 

Id A Supper in Dixie 


VOL. XVI. 

121 Children in the Wood 

122 Winning a Husband 

123 Day after the Fair 

124 Make Your Wills 

125 Rendezvous 

126 My Wife's Husband 

127 Monsieur Tonson 

128 Illustrious Stranger 

VOL. XVII 

129 Mischief-Making [Mines 

130 A Live Woman in the 

131 The Corsair 

132 Shylock 

133 Spoiled Child 

134 Evil Eye 

135 Nothing to Nurse 

136 Wanted a Widow 

VOL. XVIII.- 

137 Lottery Ticket 

138 Fortune’s Frolic 

139 Is he Jealous? 

140 Married Bachelor 

141 Husband at Sight 

142 Irishman in London 

143 Animal Magnetism 

144 Highways and By-Ways 

VOL. XXXVIII. 

297 lei on Parle Francais 

298 Who Killed Cock Robin 

299 Declaration of Independence 

300 Heads or Tails 

301 Obstinate Family 

302 My Aunt 

303 That Rascal Pat 

304 Don Paddy de Bazan 


Frock 

149 Comedy and Tragedy 

150 Opposite Neighbors 

151 Dutchman's Ghost 

152 Persecuted Dutchman 
VOL. XX. 

153 Musard Ball 

154 Great Tragic Revival 

155 High Low Jack & Game 

156 A Gentleman from Ire- 

157 Tom and Jerry [land 

158 Village Lawyer 

159 Captain’s not A-miss 

160 Amateurs and Actors 

VOL. XXI. 

161 Promotion [ual 

162 A Fascinating Individ- 

163 Mrs. Caudle 

164 Shakspeare’s Dream 

165 Neptune’s Defeat 

166 Lady of Bedchamber 

167 Take Care of Little 

168 Irish Widow [ Charley 

VOL. XXII. 

169 Yankee Peddlar 

170 Hiram Hireout 

171 Double-Bedded Room 

172 The Drama Defended 

173 Vermont W ool Dealer 

174 Ebenezer Venture [ter 

175 Principles from Charac- 

176 Lady of the Lake (Trav) 

VOL. XXIII. 

177 Mad Dogs 

178 Barney the Baron 

179 Swiss Swain3 

180 Bachelor’s Bedroom 

181 A Roland for an Oliver 

182 More Blunders than One 

183 Dumb Belle 

184 Limerick Boy 

VOL. XXIV. 

185 Nature and Philosophy 

186 Teddy the Tiler 

187 Spectre Bridgroom 

188 Matteo Falcone 

189 Jenny Lind 

190 Two Buzzards 

191 Happy Man 

192 Betsy Baker 
VOL. XXV. 

193 No. 1 Round the Corner 

194 Teddy Roe 

195 Object of Interest 

196 My Fellow Clerk 

197 Bengal Tiger 

198 Laughing Hyenn, 

199 The Victor Vanquished 

200 Our Wife 
VOL. XXVI. 

201 My Husband’s Mirror 

202 Yankee Land. 

203 Norah Creina 

204 Good for Nothing 

205 The First Night 

206 The Eton Boy 

207 Wandering Minstrel 

208 Wanted, 1000 Milliners 
VOL. XXVII. 

209 Poor Pilcoddy 

210 The Mummy [Glasses 

211 Don’t Forget your Opera 

212 Love in Livery 

213 Anthony and Cleopatra 

214 Trying It On. 

215 Stage Struck Yankee 

216 Young Wife& Old Urn- 


VOL. XXVIII. 

217 Crinoline 

218 A Family Failing 

219 Adopted Child 

220 Turned Heads 

221 A Match in the Dark 

222 Advice to Husbands 

223 Siamese Twins 

224 Sent to the Tower 

VOL. XXIX 

225 Somebody Else 

226 Ladies’ Battle 

227 Art of Acting 

228 The Lady of the Lions 

229 The Rights of Man 

230 My Husband’s Ghost 

231 Two Can Play at that 

Game 

232 Fighting by Proxy 

VOL. XXX. 

233 Unprotected Female 

234 Pet of the Petticoats 

235 Forty and Fifty (book 

236 Who Stole the Pocket- 

237 My Son Diana [sioa 

238 Unwarrantable I n t r u- 

239 Air. and Mrs. White 

240 A Quiet Family 

VOL. XXXI. 

241 Cool as Cucumber 

242 Sudden Thoughts 

243 Jumbo Jum 

244 A Blighted Being 

245 Little Toddlekins 

246 A Lover by Proxy [Pail 

247 Maid with the Milking 

248 Perplexing Predicament 

VOL. XXXII. 

249 Dr. Dilworth 

250 Out to Nurse 

251 A Lucky Hit 

252 The Dowager 

253 Metamora (Burlesque) 

254 Dreams of Delusion 

255 The Shaker Lovers 

256 Ticklish Times 

VOL. XXXIII. 

257 20 Minutes with a Tiger 

258 Miralda: or, the Justice 

of Tacon 

259 A Soldier’s Courtship 

260 Servants by Legacy 

261 Dying for Love 

262 Alarming Sacrifice 

263 Valet de Sham 

264 Nicholas Nickleby 

VOL. XXXIV. 

265 The Last of the Pigtails 

266 King Rene’s Daughter 

267 The Grotto Nymph 

268 A Devilish Good Joke 

269 A Twice Told Tale 
■270 Pas de Fascination 

271 Revolutionary Soldier 

272 A Man Withouta Head 
VOL. XXXV. 

273 The Olio, Part 1 

274 The Olio, Part 2 

275 The Olio, Part 3 [ter 

276 The Trumpeter’s Daugh- 

277 Seeing Warren 

278 Green Mountain Boy 

279 That Nose 

280 Tom Noddy’s Secret 

VOL. XXXVI. 

281 Shocking Events 

282 A Regular Fix 

283 Dick Turpin 

284 Young Scamp 

285 Young Actress 

286 Call at No. 1-7 

287 One Touch of Nature. 

288 Two B’hoys 


brella 

VOL. XXXIX. 

305 Too Much for Good Nature. 306 Cure for the Fidgets. 


Anything on this Cover sent free by mail, on receipt of price. 


New and explicit Descriptive List mailed free on request. 

O. A. ROORBAC1I, Publisher, 102 Nassau St., N. I. 

































e-SEND FOR A NEW DESCRIPTIVE CATALOGUE 


{Catalogue continued from second page of cover.) 


VOL. XLI. 

321 The Pirate s Legacy 

322 The Charcoal Burner 

323 Adelgitha 

324 Sen or Valiente 

325 Forest Rose 

326 Duke's Daughter 

327 Camilla’s Husband 

328 Pure Gold 


VOL. XLII. 

329 Ticket of Leave Man 

330 Fool's Revenge 

331 O’Neil the Great 

332 Handy Andy 

333 Pirate of the Isles 

334 Fanchon 

335 Little Barefoot 

336 Wild Irish Girl 


VOL. XLIII. 

337 Pearl of Savoy 

338 Dead Heart 

339 Ten Nights in a Bar-room 

340 Dumb Boy of Manchester 

341 Belphegor the Mountebank 

342 Cricket on the Hearth 

343 Printer’s Devil 

344 Meg's Diversion 


Ctt. 

THE GREAT SECRET OF SHADOW 
PANTOMIMES . or, Harlequin in the Shades. 
How to get them up and how to act them. With 
full and concise instructions, and numerous Illus¬ 
trations. By Tony Denier. Price .25 

PARLOR TABLEAUX ; or, Animated Pic¬ 
tures, for the use of Families, Schools, aud Public 
Exhibitions. By Tony Denier. Price. 25 

AMATEUR’S GUIDE TO HOME THE¬ 
ATRICALS. How to get them up, and how to 
act in them; to which is added, “ How to get up 
Theatricals in a Country House,” with By-Laws, 
selected Scenes, Plays, and everything useful for 
the information of amateur societies. Price.25 

THE GUIDE TO THE STAGE, by Leman 
Thomas Rede. Containing clear and full direc¬ 
tions for obtaining Theatrical Engagements, with 
complete and valuable instructions for beginners, 
relative to salaries, rules, manner of going through 
Rehearsals, securing proper Dresses, conduct at a 
first appearance, &c., &c Price.15 

THE ART OF ACTING: or, Guide to the 
Stage In which the Dramatic Passions are de¬ 
fined, analyzed, and made easy of acquirement; 
also the requisites necessary for performers,pf both 
sexes, heroes, gentlemen, lovers, tradesmen, 
clowns, heroines, fine ladies, hoydens, characters 
of middle and old age, etc. Price.15 


VOL. XLIV. 

345 Drunkard s Doom 

346 Chimney Corner 

347 Fifteen Years of a Drunk- 

348 No Thoroughfare fard's 

349 Peep O'Day I Life 

350 Everybody’s Friend 
Hamlet, in Throe Acts 
Guttle & Gulpit 

Oi. 

MASSEY’S EXHIBITION RECITER 
AND DRAWING-ROOM ENTER,- 
TAINMENTS. Being choice Recitations in 
prose and verse. Together with an unique collec¬ 
tion of Petite Comedies, Dramas and Farces, . 
adapted for the use of Schools and Families. Two 

numbers. per number, 30 

The two numbers, bound in cloth, School style.... 75 

THE OLIO . or Speaker’s Companion. A col¬ 
lection of Recitations in Prose and Verse, Dia¬ 
logues and Burlesques, compiled for the use of 
Schools, Thespian Societies, etc., and for Public 
Declamation or Reading. In three parts.. each, 13 

DRAMAS FOR THE DRAWING¬ 
ROOM. By Miss Keating Two parts, each. 40 

PLAYS FOR THE PARLOR. By Miss 
Keating. Two parts.....X.each, 40 

ACTING CHARADES. By Miss Picker¬ 
ing. 40 

COMIC DRAMAS, for College, Camp or Cabin 
(Male Characters only . four parts.each, 40 

DR A MAS FOR BOYS (Male Characters only), 
by Miss Keating.40 

HOME PLAYS FOR LADIES (Female 

Characters only), complete in three parts.... each, 40 

AN EVENING’S ENTERTAINMENT, 

an original Comedy, a Burlesque and Farce. 40 


THE ETHIOPIAN DRAMA. 


(NEW SERIES.) 


NO. 
1 
2 

3 

4 

5 

6 
7 


Blinks and Jinks 
Lucky Number 
Somebody s Coat 
Trip to Paris 
Arrival of Dickens 
Black Ole Bull 
Blackest Tragedy of All 


NO. 

8 Tom and Jerry, and Who's 

been Here 

9 No Tator. or Man Fish 

10 Who Stole the Chickens 

11 Upper Ten 3’housand 

12 Rip Van Winkle 


NO. 

13 Ten Days in the Tombs 

14 Two Pompeys 

15 Running the Blockade 

16 Jeemes the Poet 

17 Intelligence Office 

18 Echo Band 


NO. 

19 Deserters 

20 Deaf as a Post 

21 Dead Alive 

22 Cousin Joe’s Visit 

23 Boarding School 

24 Academy of Stars 


NO. 

1 Robert Make-Airs 
Box and Cox 
Mazeppa 

United States Mail 
The Coopers 
Old Dad s Cabin 
The Rival Lovers 

8 The Sham Doctor 

9 Jolly Millers 

10 Villikins and his Dinah 

11 The Quack Doctor 

12 The Mystic Spell 

13 The Black Statue 

14 Uncle Jeff 

15 The Mischievous Nigger 

16 The Black Shoemaker 


NO 

17 The Magic Penny 

18 The Wreck | ny Cupids 

19 Oh HushI or TheVirgin 

20 The Portrait Painter 

21 The Hop of Fashion 

22 Bone Squash 

23 The Virginia Mummy 

24 Thieves at the Mill 

25 Comedy of Errors 

26 Les Miserables 

27 New Year’s Calls 

28 Troublesome Servant 

29 Great Arrival 

30 Rooms to Let 

31 Black Crook Burlesque 

32 Ticket Taker 


NO. 

33 Hypochondriac 

34 William Tell 

35 Rose Dale 

36 Feast 

37 Fenian Spy 

38 Jack s the Lad 

39 Othello 

40 Camille 

41 Nobody s Son 

42 Sports on a Lark 

43 Actor and Singer 

44 Shy lock 

45 Quarrelsome Servants 

46 Haunted House 

47 No Cure, No Pay 


NO. 

48 Fighting for the Union 

49 Hamlet the Dainty 

50 Corsican Twins 

51 Deaf - in a Horn 

52 Challenge Dance 

o3 De Trouble begins at Nine 

54 Scenes at Gurney’s 

55 16 000 Y ears Ago 

56 Stage struck Darkey 

57 Black Mail | Clothes 

58 Highest Price for Old 

59 Howls from the Owl Train 

60 Old Hunks 

61 The Three Black Smiths 

62 Turkeys in Season 


Tony Denier’s Parlor Pantomimes—In Ten Parts, 25 Cts. each. 


No. I.—A Memoir of the Author. By Sylvester 
Bleeker, Esq. How to Express the Various 
Passions, Actions, etc. The Four Lovers ; or, 
Les Rivales Rendezvous. The Frisky Cobbler ; 
or, The Rival Artisans. 

No. II.— The Rise and Progress of Pantomime. 
The Schoolmaster ; or the School in an Uproar. 
Belle of Madrid; or, a Muleteers Bride. La 
Statue Blanche ; or, The Lovers Stratagem. 

No. III.—M. Dechalumeau ; or, The Birthday 
Fete. The Demon Lover ; or, The Frightened 
Family. Robert Macaire ; or, Les Deux Fugitifs. 

No. IV.— Jocko, the Brazilian Ape; or, The 
Mischievous Monkey. The Conscript ; or, How to 
Avoid the Draft. The Magic Fi.ute; or, The Ma¬ 
gician s Spell. 


No. V.-The Yivandiere; or, The Daughter of the 
Regiment Dams Trot and her Comical Cat; 
or, The Misfortunes of Johnny Greene. 

No. VI.— Godenski; or, The Skaters of Wilnau. 
The Enchanted Horn ; or. The Witches Gift. 

No. VII.— The Soldier for Love ; or, a Hero in 
Spite of Himself. Simeon's Mishaps; or, The 
Hungarian Rendezvous. 

No. VIII.— The Tillage Ghost; or, Love and 
Murder both Found Out. The Fairies Frolic; 
or. The Good Wife s Three Wishes. 

No. IX.— The Rose of Sharon ; or, The Unlucky 
Fisherman. Pongo, the Intelligent Ape, and 
the Unfortunate Overseer. 

No. X.— Mons. Toupet, the Dancing Barber; 
or, Love and Lather. . Yol au Tent and the 
Millers ; or, A Night's Adventures. 


O. A.. POOUBACH, Publisher, 


Any of the above sent by Mail or Express, on receipt of price. 


102 Nassau Street (Up Stairs). 


and ‘explicit Descriptive Catalogue At ailed Free on reguest. 
























































































































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